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  1. Instead of going OT in the "chosing a system" thread I'm starting this new one: You read this all over, and of course it's true - in a way. But it should be mentioned that playing the EC "in any key" will be increasingly difficult if you're playing in sort of a "harmony style" like I do. I know Jim's reports that he doesn't find it that hard but from my experience everything beyond C/Am - G/Em - F/Dm (with the parallel modes and secondary dominants up to B7) will turn out to be difficult if you want to employ all six harmonic steps to a given scale. I had to explore D for the first TOTM tune - The Fiery Clock Face where I didn't have to apply F#m, but actually backed off from A until this very day. There's one song which simply doesn't sound well in G and is way too high for my voice in C, so it's A or Bb... For A, which I choose, you need (if not C#m) F#m and as a "fortified" secondary dominant to B even F#7, and you'll find the keyboard lacking the A# button (and the enharmonic equivalent - Bb - is located on the other side). Of course this can be rehearsed, and within a few days one might be safe in one additional key, but - long story short - as to easy access it's more that you have all the accidentals for the melody or certain modulations, whereas the choice of keys farther "away" from the home key (which is of course C/Am) will demand breaching the general pattern which is disturbing, at least at first... Instant access to playing in any key will be the main advantage of "isomorphic" Duet systems (although there seem to be some limitations with smaller keyboards where the player has to "jump" from one end to the other). The EC has a diatonic "core", and that I greatly appreciate! What do you think?
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