Choral Public Domain Library

Hi,

I have a score showing diminutions by Rogniono on a work by Palestrina (Domine, quando veneris).
The mode is E. I'm transposing it a minor third up to fit recorder range.
Because of the original half tone E-F, this means that nearly all A of the transposed version are bA.
This would perhaps suggest to add this third b to the key signature, to get a lighter text.
However I personnaly don't find this quite relevant since it would suggest the piece is in C minor, whereas it is in fact E mode transposed on G.

What would be your choice ?

Wotcher,

Some modes (e.g. Dorian) are easier to fudge than others: the Phrygian mode under discussion is fairly intractable.

I myself would use the C minor key signature, to keep the notation comparatively uncluttered: if you are disseminating the piece as parts, rather than a score, the disconnect between mode and key signature will not be so apparent to each individual performer.
Or, if range permits, consider transposing up a fifth (or down a fourth) i.e to initial note B and key signature of one sharp - problem persists, but less obviously (and this solution is friendly to recorders with 4th difference in fingerings). This solution also reduces the number of cross-fingerings considerably

Hi,

Thanks for your answer !
Indeed three b isn't an easy key signature for a recorder player (the upper part is quite tricky).
OTH a B mode would be rather strange from an historical point of view, IMHO.
Thus I've choosen to transpose a fourth up to A mode, with a Bb key signature.
I remember having seen that E and A modes are often related to one another.
What's more, I often prefer b signatures rather than # ones when playing recorder (I don't pretend there's a reason, it's just personal).