Let’s stay with songwriting a bit longer: this time, choral music. David Bruce Murray has a fascinating find up over at musicscribe: the final bars of an otherwise nondescript new choral piece that … well, I’ll let DBM explain:
The last page of the piece is written in the key of C, but there’s only one C natural on the entire page. The final chord is F sharp major. [The writer/arranger] doggedly keeps the notation in the key of C, though, writing accidentals in for about 80% of the notes that appear on the last page. ANY other key would have resulted in less accidentals. Of all the key signatures that are available, he deliberately wrote this in the least logical one of all.
The hook of the song is “the story never changes but changes everything,” and actually, that’s not bad at all (the big finish announces in ascending intervals that “Jesus Changes Everything!”). Moreover, I’m enough of a latent deconstructionist to find it mildly amusing that the musical notation itself reinforces the hook by changing almost every note in the final bars of the song into an accidental. But DBM is right: this is unsingable for average choruses. Ask most ordinary church choirs to sing this and the only key they’re going to be interested in is the one they run up one side and down the other of your car in the parking lot. The accompanists, meanwhile, will be slashing your tires. This, too, changes everything.Email this Post