Now now CHILDREN, let's control our tempers.

This is just a discussion, one you can choose not to participate in but most of you are hypocrites who whine about these thread but just can't stay off them for whatever--few of them valid.

***Futwick, many larger pieces of music, whole symphonies and such, AND many shorter works as well, switch back and forth between the major and minor mode within the key signature, adding "accidentals" where needed. And they make use of both major and minor chords and scale runs.***

I think I may have heard rumors about that being done a time or two.

***To require that they have separate key signatures would add completely needless complications to both composing a work and reading it.***

But Don, key signature DO sometimes change in pieces and so do clefs--right in the middle of the staff sometimes. Doesn't seem to bother anybody. You take out the unnecessary flat, for example, now you don't need to go in an insert accidentals. Ta-da!

**There is nothing wrong with the current system, accepted by all musicians who write and read music in the long-standing and wide-spread European tradition.**

That's not true, either. There is something wrong with it and notation has changed over the years greatly. I'll prove it:

Play this for me on your guitar please

Or this

Or perhaps this

***Fuck. Now we gotta learn new key signatures?***

Well, which is less sonfusing--minor scales getting their own key signatures or minor keys having the exact same key signatures as major scales?

You remind me of that Monty Python sketch about the club where everybody is named Michael Baldwin Bruce then when a new guy joins with a different name, the other club members grouse that this is going to cause a bit of confusion.