This is what I've just been searching for. The key signature is F when it should be B flat. And throughout the whole piece he makes most of the notes into e flat. Does anybody know the explanation for this?
@@Ana_crusis If you look at every E in the whole piece, most, if not all of them are flat. I guess they didn't choose to write it in the signature but made accidentals throughout the whole piece
@@bb_blogsyes I'm aware it should have two flats in the key signature. That was the question. If you read my earlier comment you will see that I say that he makes all the notes into Eb. That's why it is really in G minor I read up on the reasons for this. it's just historical. It's how time signatures were sometimes written in the baroque era. en.m.wikipedia.org/wiki/Key_signature#History
@@Ana_crusisplaying Vivaldi sonatas I can agree. The seventh sonata from op. 7 is c minor although it has two flats in the key. Most of a's are flat. I guess when you start having more flats it would be nice to have it accisentalized specially when you start learning a piece in F minor and you come from a minor. Your fingers will tend to play natural notes instead of the four flats
@@mauriziochirca8939 I looked into this key signature stuff and it's basically a baroque thing. it's just historical. It's how time signatures were sometimes written in the baroque era. en.m.wikipedia.org/wiki/Key_signature#History
It's about in line with what I've read in some treatises, which are usually excessive to modern tastes, even modern tastes of period performance. Even this sort of ornamentation pales in comparison to what may have been practiced in the Renaissance
