I love the differences in the beginning measures of the A part between this version—my friend plays it this way and I don’t know where they got it—and the version above.
Sharps, modes, and key signatures
I notated this tune in E minor instead of E dorian, even though every written C is raised. To my ears, if one were to insert a little neighboring C into the 7th measure, or to harmonize the 12th measure with a nice A minor chord, the C would be natural (a sharped C would sound out of place).
I’m always tickled by the openness and ambiguity of melody-centric music, and by the way thinking harmonically can complicate things a bit.
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