Originally Posted by Moonbeam9067
Spectacular reply as usual from you!!! All wonderful explanations. I see what you are saying. IF I choose to do the typical E Major or E7 device (rather than Em) for the 5 chord to make the resolution to home (Am) more emphatic, as is often done in classical music (and some pop of course), then I can see by your explanation that BIAB might then be confused if I enter The Key of C because it will expect a non raised 5 chord (Em) and thus might clash.

BUT if I do NOT use the classical convention and just have the 5 chord be the technically correct Em chord then the setting to the key of C is the way to go.

IF I have this correct from your excellent teaching, then I now think I understand how to pick the right key setting for a composition in the major/minor key pair.

If you are not going to change away from the natural minor scale sensibility, then picking the major perspective is desirable because BIAB will then not assume altered notes.

If you are going to use the very common cadence moves to intensify resolution, then picking the minor perspective is the way to go due to BIAB's creating melodies to fit this convention.

Let me know if I have this down.

I NEVER would have been able to know this without your help. Understanding how BIAB makes choices is fascinating and technical. Thanks for the coaching!

Your understanding is 100% correct. You have written a very clear and very succinct summary. To set the key, be guided by the notes that are being used to write the melody. For example, if you write a song in G Myxolydian mode (such as The Beatles "Norwegian Wood"), the notes are G A B C D E F G. That is, the notes of the C scale form G to G. This indicates that setting BIAB to the key of C major is probably the best option rather G major (with F#) or G minor (with Bb, Eb, F# (raised 7th)).

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