waldo041 wrote:Mick wrote:Could be. I have had that argument too many times to remember all of the combatants and their origins! My point that is "Fire on the Mountain is written in the key of B" actually has no argument to it. I have several books, two from Ice Nine Publishing, showing that Mickey Hart WROTE the song in the key of B. I have had seemingly otherwise intelligent players say "well, then Mickey wrote it wrong!" when faced with that fact. My opinion is that writing it in B using the rhythm chords of B major and A major makes sense to me, and doesn't seem in any way "wrong". My opinion is also that when soloing to the tune, if you want to use the CAGED positions for the key of E, you'll sound great, so there really isn't anything "wrong" there either. At one time I did a "melodic analysis" in scale degrees of the song, and it clearly was more sensical to me in B, but if it is more sensical to someone else in E, I don't have a problem with that. It just doesn't change the FACT that the song was written in B.
well, mickey hart did not write those books and i have seen many have a wrong key signature before. i went ahead and grabbed the sheet music and sure enough it is written in the key of B major(5 sharps), but had to laugh when i seen all the A# notes/chords in the sheet music changed to accidentals(naturals)! does it matter that in B major that A# is a diminished chord?
just proves the sheet music should have been written in E major with a B Mixolydian tonal center, then all those accidentals would be eliminated. the only difference between B major and E major is that A#.
but yeah you been correct all along mick, as long as you change that A# to an A you can stay in b Major all you want or is that B major anymore?
The book's authors probably wrote it with 5 sharps just to indicate that you're supposed to begin and end on B and treat B as the most important note. They certainly don't want you to ever actually play that A#!
The bottom line is, we've left the world of traditional theory behind and we're quickly approaching the world of Jazz theory, where things are a lot more nebulous and the concepts of "correct" and "incorrect" start breaking down. For Jazz charts they often don't even bother to write a key signature.