F-sharp/G-flat major is objectively the worst key signature
> hard to play in on literally any instrument
> hard to write in
> doesn't even sound good
>writes in keys
its 2015 m8
>>61057078
>doesn't even sound good
you tell yourself that because you can't play it.
gib examples pls
Name a song in that key
>>61057183
>>61057212
https://www.youtube.com/watch?v=D5wBjcdo2oE
This is the only one I can think of at the moment
most patrician key desu
Foxy Lady by Hendrix
F sharp is easy on clarinet
>implying most of /mu/ knows anything about music other than whether they like something or not
Its not the worst but its one of my least favorite.
>>61057580
>its one of my least favorite
>not listening to music in F-sharp major, locrian mode, using a collage of many cultures instruments and recorded on a wire recorder
pleb
Key doesnt matter. Its all relative
Any key is easy with a capo :-)
Also >>61057764
>>61057506
F# minor senpai
>>61057764
This is not true. The intervals are the same from key to key yes, but how you perceive music changes from frequency to frequency which is affected by the key you play in. And there are lots of incidental differences like instrument ranges that usually make certain keys different.
>>61057212
Guns N Roses - Sweet Child O' Mine
Modest Mouse - Float On
Kanye West - Stronger
blink-182 - What's My Age Again?
30 Seconds to Mars - This Is War
AWOLNATION - Sail
Gorillaz - Feel Good Inc.
Smash Mouth - All Star
>>61057212
Y.M.C.A.
>>61057078
>comes in here swinging around music theory like his dick big
>says a major key is the worst sounding key.
Have heard of the locrean mode, nigga?
>>61057078
>Key doesnt matter. Its all relative
Believing that keys sound 'good' or 'bad' means you are dumb.
>>61057936
The Locrean Mode is not a key signature.
>>61057888
and how many of the guitar bands play downtuned?
>>61057986
I sometimes forget that.
>>61058015
If they're dadrock bands, they often do because their frontman can't hit high pitches like he used to.
>>61058015
GNR and 30STM
Hey /mu/, I remember a really long time ago my old bass teacher taught me this really strange scale you could play that created an audio illusion. When you played it from one note up to its octave, it sounded off, and only actually sounded like a full octave when you played the last note a half-step higher, for instance C to C#
I haven't been able to find anything about it online, can anyone remind me what it's called or how to play it?
>>61057888
sweet child is Db major
>>61058128
...you're right.
I went to a site that listed songs by key but it seems to be publicly voted and mostly bullshit. Take that list with a grain of salt.
>>61057869
>but how you perceive music changes from frequency to frequency
There's a little truth to this, but not that much. Sure, a note in the bass sounds different from one in the treble, but if you're changing a song's key you're probably going to change the pitch by a few semitones. The intervals are 95% of what matters in a case like that, and saying that somehow something in F# is going to sound bad just doesn't make sense. If you altered the pitch of "Y.M.C.A." from F# to G no one's going to be able to tell the difference.
The idea that something F# sounds bad because of 'frequency' suggests that if we altered switched from A4 = 440 Hz to A = 466 Hz then suddenly F would start sounding bad and suddenly E would (presumably) start sounding good. Which is silly.
Of course, keys matters for instrumentation. It may be easier or harder to play something in a certain key on a certain instrument, or it may sound better or worse, but that's primarily because that's the way the instrument was constructed or the instrument's range rather than some inherent property of the key itself.
>>61058216
>If you altered the pitch of "Y.M.C.A." from F# to G no one's going to be able to tell the difference.
Unless they're part of the small minority of the population who have perfect pitch, of course.
>>61058124
I think you're thinking of the locrean mode. If you're at the piano and you start at B and you play all the white keys up to the B an octave above, you probably won't naturally feel like you've got to the tonic until you get to C.
>>61058216
Maybe it's just me, but I think the key a song is in has a lot to do with how the song sounds. For instance, F, F-sharp, and G are a lot brighter sounding than keys like B-flat, B, and C
![6529734051725834[1].jpg](https://i.imgur.com/FaJ9KXI.jpg "6529734051725834[1].jpg")
>all these plebs
https://www.youtube.com/watch?v=mfCe81JVDKM
>>61058346
What instrument are you playing on? F will sound 'brighter' (higher-pitched) than B-flat if you're transposing up by a fifth. It'll sound less bright (lower-pitched) if you're transposing down by a fourth. In that sense, it may be brighter or duller simply because you're playing in a higher or lower key, respectively.
>>61058473
Piano. Regardless of pitch I still think of B-flat as being darker-sounding than F, (i.e. transposing something down to F from B-flat will make the piece sound darker)
>>61057078
I used to agree but now that I write music instead of just playing it I use it all the time
You can hit on the black keys without really having to think and when you get bored play a few Bs and Fs
http://vocaroo.com/i/s0yOX8j46Iz6
>>61057888
I'm like 83% sure that Feel Good Inc. is in Eb but I don't know
>>61058712
It is. I got that list from a site that on further inspection is bullshit.
>>61057078
Holy shit are you retarded it's one of the best sounding keys you fucking faglord
>>61058712
Eb minor has the same key signature has Gb major
>>61058712
They're enharmonic, so it's the same signature.
>>61058711
destroyed him
>>61057956
this
>>61058712
Eb minor though. The first note is an Eb
It's the easiest key signature because there are only 5 black keys instead of 7 white keys.
No fourths or sevenths, but who needs them.
What are you guys talking about itt? I just play minor pentatonic over everything and it sounds good
My favorite key is E harmonic melodic dominant phrygian with a raised 6th.
>>61059732
normie
>>61057936
Please don't fake an opinion about something you don't know anything about.
>>61059762
Shut up.
>>61057078
>hard to play in on literally any instrument
unless you aren't a total amateur
>hard to write in
if you don't know how to actually write music
>doesn't even sound good
implying you have perfect pitch and can actually tell the difference
>>61058128
No it isn't, just because it starts on the Db (V chord) doesn't mean it's in Db. It's in Gb/F# major.
>>61059762
I'll bet your favorite chord is a Italian augmented 6th with a sharp 9 extension.
>>61059996
>I'mplying the Major Diminished Neapolitan Quartal Chord with a subdominant 7th isn't the ultimate god tier
>>61059944
Fair enough. I can tell the difference, though. You don't need to have perfect pitch to hear the difference between keys.
>>61059944
>unless you aren't a total amateur
Fuck, I feel like you resumed /mu/ in a phrase.
>>61060039
All Dos will sound like Do no matter what you stupid fuck this is the basis of tonality and why you can't "hear" the differences. You can hear different pitches but you can't hear different major keys from other major keys because guess what? they're both major.
>>61060134
You're wrong. If you were right, then modulation wouldn't exist.
>>61057956
Keys do have implications via the manner of interaction the instrument demands. F# major calls for different interaction than C major and will likely result in different music written.
I agree that disregarding something because its in a certain key is very stupid, but when I'm playing clarinet instead of a string instrument, I really have preferable key signatures.
>>61060183
Modulation changes your perceived Do, and if the quality of the key is preserved (i.e. major to major or minor to minor) then, to reiterate, only the Do will change, but NOT the "feel" of the key.
If you change Do AND quality, then you'll notice a huge change (Major to Minor, Scale to Mode) etc. Read up.
>>61058128
>>61059976
Both wrong, the key signature is the same Gb/F# major, but Db is the tonic chord. It's Db mixolydian.
>Tonal Music
I think we can all agree that Dorian is the best mode of all of them is it not?
>>61060231
Why would composers bother modulating from major to major if people couldn't tell the difference between the way different major keys sound?
>>61060258
Babbit pls leave
Modulation is the best
>>61060264
Harmonic Minor
>>61060264
oh hell yeah
>>61060264
Lydian mode mang
>Replacing Em with E but staying in the key of Em (or whichever key, just using Em/E as an example)
Is there a name for this? Because it sounds wonderful
>>61060278
Because it's different coloration you dumbass. And most composers don't anyway, modulation in the vast majority of cases is used to transition quality and Do, less common is the pure transition of quality (e.g. C Major to C Minor) but it still happens.
Changing Do is such a fundamental change that it is often enough to cause a shift in how your piece sounds, even if you kept the quality. However, relatively speaking, there is no difference in between a C major scale and a D major scale, in terms of their intervalic distance. This is why there are "major (which is really Ionian) and "minor" (which is really Aeolian) scales for every note, because the pattern works (also why all modes work on different notes, but they are just enharmonic re-arrangements of the major [and by extension minor] scale).
>>61060290
>Harmonic minor
>muh leading tone
spoon-feedin ass nigga
>>61060302
fuck yeah lydian
>>61060346
Just minor major contrast? But less so in an a-part vs b-part sense. It happens in a bunch of jazz standards when they want to go from, for example, an Ami7 to a Dmi7. Just stick some A7 in there.
How well do you guys even percieve key/feel differently depending on key? I have perfect pitch so I don't actually know how normal people listen for key. Do people notice when different versions of the same song are shifted up and down keys?
>>61060363
I realize that all major scales are made of the same intervals relative to the tonic. What do you mean by "coloration"?
>>61060363
Not that guy you were talking to, but I'm pretty sure everyone understands that "D major is the same as C major only two semitones higher" which is basically what you're explaining in a convoluted way, but different major keys definitely have different "feels" for me regardless of their intervalic symmetry. For example when I hear a band play their song down a tone to accommodate for a singer who bit off more than he could chew in the studio, it immediately feels different.
>>61060454
Which is relevant to this question as well I guess. I don't think I have "perfect" pitch, but if I were to try and sing or play a popular song just from memory of what it sounds like, 9 times out of 10 I'll get the right key.
>>61060454
1st. I highly doubt you have perfect pitch. But that's another issue.
2nd. Yes, it's very easy for anyone (especially if you have perfect pitch) to tell keys apart. Most people, however, due to not having perfect pitch, will simply stick to seeing what the 7th scale degree is - is it a leading tone? or is it subtonic? This type of tonalization is very useful for determining keys.
>>61060423
this is sort of different. that's a secondary dominant substitution. A7 is actually outside the key, it works because it's the V chord of Dmi7. in theory you could stick them in front of every chord in the progression and it would sound good,
i.e. say your chord progression is Cmaj7-Ami7-Dmi7-G7. you could add in the V of Ami7 (E7), and then the A7 before the D, making it Cmaj7-E7-Ami7-A7-Dmi7-G7. Or you could even take out the resolving chords
>>61060454
I don't think I quite have perfect pitch but I can often guess the chord/key (maybe based on memory of similar songs, don't know). I'm much better at recognizing patterns, progressions etc
>>61060548
What's your definition of perfect pitch then anon?
>>61060231
I'm not sure what your background in music is, but as a professional, I would like to let you know that sometimes when you talk about things you don't actually know anything about, you sound stupid. Not trying to offend you, just make you aware in case you have this issue in the future.
>modulation changes the perceived Do
First of it, it's not called a "do," it's called a key. Yes, there is a difference.
>the "do" will change, but not the "feel" of the key
First of all, what is the "feel?" That's the most objective word you can use in this industry. What you meant to say was "When you modulate to a new key with the same quality (points for proper terminology here), the tonic changes but not the structure.
>If you change "do" and quality, then you'll notice a huge change
Not really true, considering the fact that the most samey thing you can do with a tonal modulation is go to the relative minor or relative major (this refers to a major and minor key that has the same key signature, i.e. C major and A minor). This is, as you described, a change of tonality AND quality, and is used in just about every pop song written in the past 20 years, and I'll bet you never noticed.
tl;dr Read up.
>>61057078
barre chords, m8
>>61058216
wouldnt that mean you could play any song on any part of the fret board and people wouldnt know because its still the same differences
Does anyone else like to pitch shift songs up and down occasionally? Sounds almost like you haven't heard them before
>>61057078
how is it hard to play? i dont understand this, learning all your keys is easy.
if i can write the start of a part by hand then write the rest of it in my head and then find the notes i could hear in my head on the fret board does that mean i have perfect pitch?
>>61061839
Yep. It's loads of fun.
>>61057078
its actually comfy to play on the keyboard, and all keys sound the same, its the scales that are unique.
>>61057888
Sail and Feel Good are Eb
Sweet Child is C#
>>61057078
>hard to play in on literally any instrument
Except, you know, the most important instrument.
>>61061770
It'll sound pretty much the same, it'll just sound higher pitched or lower pitched depending on how far up or down the fret-board you move. The register will change and the ton quality may change slightly, but if you transpose a song down a semitone it's not going to sound different simply because it's in a certain key. The difference is minimal.
When you're accompanying a singer though key is important because you want a key that suits the singer's range. Moving a few semitones up could mean unpleasantly strained high notes, and moving a few semitones down could mean it's too low or that it sounds boring because the high notes aren't high enough.
>>61062588
the piano? the guitar? it's pretty easy on both of those, especially the guitar.
BEST KEY: A maj
RUNNER UP: F# mi
WORST: E mi
>>61062640
Why?
>>61062666
because they sound good
>>61062607
this is wrong though. you cant just slide up the fretboard and it'll sound the same but higher pitch
>>61057078
>>61062494
Irving Berlin used to write all his music in F-sharp major. Well, to be more precise he had a piano specially built that could modulate to any key while he played in what would, on an ordinary piano, F-sharp major. So that just shows you that F-sharp isn't that hard on the piano. It's just all the black keys plus F and B (or, for sticklers, E-sharp and B).
>>61062723
Yes you can, pretty much. Use a capo.
>>61062723
What gives you that impression?
>>61060363
What is "Do"?
>>61062829
The first scale degree, or "tonic"
>>61062753
>>61062769
>>61062795
cause i have songs that only work on exact places. but i just realised then its because of unfretted strings
so you're right, but sometimes it just sounds ugly in the wrong spot
>>61062795
he means to say it will be the same progression (i.e. relative pitch change).
>>61062859
>because of unfretted strings
Yes, if you're using unfretted strings you're going to have to finger the notes differently depending on where you are on the fretboard. Changing a string's pitch by a semitone can be done by dividing its length by a factor of 2^(1/12), so in absolute terms the length by which you are shortening the string is less when you are farther up the fretboard. This is why the frets get narrower farther up the neck.
>>61061839
Like taking a recorded song and digitally altering the pitch? Or playing something in a different key, like with a capo on the guitar?
>>61057183
Sounds good
https://www.youtube.com/watch?v=tFG_5PBl2K8
>>61060538
adding depth or changing the brightness of the sound. Many wind musicians have concepts of playing colors. Darker fuller sound could be a blue where a more piercing sound would be red for instance. Just adding harmony
>>61062640
I love E minor....... one of the easiest keys ever on sax. Sax transposes down a major third so its Cm haha
>>61061839
modulating
F# is what I fuck around in on the piano to come up with new melodies, plus to bitches who don't play piano it makes easy shit look really complicated because it has so many super scary black keys.
>>61060688
I just finished my first semester of music theory with a professor who has DMA, and trust me that what I'm saying is verbatim what I was taught. I'm not an idiot but there are certain points that I'm willing to stand corrected in, if I happen to be wrong. Point it out more thoughtfully and teach me something instead of resorting to ad hominem.
>First of it, it's not called a "do," it's called a key. Yes, there is a difference.
Change of do = change of tonic aka the tonal center aka the key. If you still think there is a difference, explain and we can discuss it.
>First of all, what is the "feel?"
Any other word would be just as arbitrary - but I suppose color is a better word for it. And yes that is exactly what I meant but as you can see I was trying to explain it to someone who clearly did not have even a rudimentary grasp on musical vernacular.
>Not really true
This is where we disagree. I notice huge changes when do is changed, but I can yield and admit that this is much more a personal way of listening to music than a more casual one. I almost always notice a tonic change unless it's very cleverly done and buried.
However, enharmonic changes are indeed not very big - but this is a sort of cop out in that the only real way to convincingly change from a major to its relative minor (or vice versa) is through the dominants and subdominants, and even then you'd have to use the harmonic minor to really emphasize that minor i through the use of the leading tone.
tl;dr I have read up, you cunt.
>>61063646
seconding this post
>>61063646
Fuck off, you arrogant bastard. If you had actually said something like "the tonic changes, but not the structure" (which I already knew, and wasn't trying to say otherwise) I would have understood what you were talking about. You not knowing how to get your point across doesn't equate to me "not having a rudimentary grasp on musicalk vernacular," you shit-eating troglodyte
>>61061905
....if this isn't a joke, no....perfect pitch means the ability to hear a tone and immediately be able to say what the note is
>>61057078
I've heard from my pianist friends that C Major/A minor is the worst key signature for them.
>>61057078
only if you play the kazoo you talent-less mule
>>61062640
In my experience, on the cello, D minor is the easiest key, and C minor is the most beautiful key. Sometimes it's fun to challenge myself by improvising in Eb minor, and I actually like how it sounds. That's the relative minor of Gb Major, so well fuck you I guess.
>>61057956
it's not all relative, you postmodern weirdo
f sharp has 5 accidents. a scale this unstable is not gonna please many ears
>>61065689
>f sharp has 5 accidents. a scale this unstable is not gonna please many ears
Believing that the number of sharps or flats in the key signature makes a key 'unstable' or less pleasing to the ear makes you dumb.
>accidents
The word you're looking for is "accidental". To be a stickler, even "accidental" is not accurate because strictly speaking that means a departure from the key signature. "5 sharps" would be a simple way to say what you want to say.
>>61065689
>>61066304
Oh yeah, and F has six sharps. Your ignorance threw me for a second.
>>61066355
>F
Should read "F".
Wait, is 4chan even recognizing the sharp symbol? Here it is 4 times:
If not, here's the name of the key in question using a number sign: F#
F sharp minor is the way to go.
>>61066416
Wow, that's strange. I wonder what that's all about
>>61066304
nice non-argument, this is standard assumption in music theory
>>61066355
F doesn't have it's tonal center on an accident which makes a huge difference
>>61057956
F# minor is really heartwrenching to me, though only by association to Rach's 1st Piano Concerto. C minor is also one of my favorites, but only because of Faure's Elegie.
And it's really just because of my perfect pitch, but hearing a piece for piano and singer, for example, played in a different key than the original, really irks me.
>>61066531
shut the fuck up try hard
>>61058064
I'm pretty sure he means in the original recording, that we're using to extract the key. If they play them downtuned live *now* then they're not longer in that key, m8.
>>61065689
>a scale this unstable is not gonna please many ears
please tell me you're trying to ruse me
please
>>61057078
Trained composer and orchestrator here.
due to 12TET, all keys sound the same on a well tuned piano. They might be difficult to play compared to Cmaj, but its all practice. Anyone can become comfortable playing in any key if given enough time.
Keys only really start to sound different when you're hearing an orhcestra. Certain keys will accentuate certain notes on certain instruments, and some keys will use more open strings in the string section, and therefor sound more "stable" or pure.
C# minor is a fairly master race key for orchestra, but most pieces nowadays either shift through a myriad of keys, or avoid having a tonal center altogether. Its rare to write in one key unless you're being conservative, writing for choir, or trying to write in the old styles.
>>61066442
The sharp symbol is a pretty rare unicode symbol which I copied and pasted from Wikipedia. 4chan probably supports a smaller character set.
>>61066443
>nice non-argument
You didn't present an argument either. Making a bizarre and false claim about how harmony works isn't an "argument". It's hard to find a reputable source that contradicts your claim because up to now I don't think any was needed.
Consider that any piece of music in C major could be rewritten in a key signature with 12 sharps or flats and sound exactly the same. The tonal center would be D-double-flat so its tonal center would be written with two flats. According to your logic this must sound really bad. And yet it sounds exactly the same! They're enharmonically equivalent.
>F doesn't have it's tonal center on an accident which makes a huge difference
Well, I meant "F#" but 4chan rendered it as "F". But, that aside, what you're saying is remarkably silly.
Here are two pieces of music in F#:
https://www.youtube.com/watch?v=3apedFIjb6U
https://www.youtube.com/watch?v=CS9OO0S5w2k
One is a euphonious piano composition by Chopin, the other an archetypal sugar-coated pop song. Neither is dissonant or 'unstable'.
One in Eb minor, which is F#'s relative minor (enharmonically speaking) with six flats:
https://www.youtube.com/watch?v=w5lVUaLeD14
And two in Db, with five flats in the signature:
https://www.youtube.com/watch?v=1EEFtIGjYbg
https://www.youtube.com/watch?v=CvFH_6DNRCY
One is a lullaby, and the other is a popular classical piece with a soft, sweet and lullabylike quality. Not dissonant.
>this is standard assumption in music theory
The source of your confusion may be that the more accidentals, in the sense of notes outside the diatonic scale and key signature, the more dissonant a piece will usually be. This is sometimes called "chromaticism". That's quite different from what you're saying though.
>>61066850
does any of that even matter anyway? some instruments need to be transposed to different keys to be in the same key as everyone
a trumpet's D is a keyboard's C
> hard to play in on literally any instrument
I think you just fucking suck mate. Practice more, that's not hard at all.
>>61067057
>The source of your confusion may be that the more accidentals
that's exactly what he's not understanding
an accidental is simply a note that is not in the key signature of a song. what he's getting confused about is how the black keys on a keyboard are sometimes called accidentals. they're only called accidentals because the white keys are all in the key of c major, so every black key is an accidental in the key of c major.
that's just not the case in other key signatures
basically he doesn't know what he's talking about
>>61067082
is that why sometimes when im writing bass parts and i try to use the same notes i was playing with my guitar and they sound like shit and dont fit in?
>>61066688
Wow, how insecure.
>>61067193
got him. you got trolled pretty hard kid
>>61067180
no, a bass guitar's C is just a lower octave version of a guitar's C.
the only difference with bass and guitar are the clefs, but that's something else entirely.
string instruments don't need to worry about that stuff, it's the horns and woodwinds that need to worry about transposition (as far as i know, someone correct me if i'm wrong)
>>61057078
I feel this is very important for you.
https://www.youtube.com/watch?v=5Ju8Wxmrk3s
>>61067235
so why do some notes just not sound right on bass despite them sounding fine on guitar
>>61067175
>he doesn't know what he's talking about
Yes, I also felt this was obvious which is why, at first, I felt it sufficient to contradict him without much elaboration. I don't get to use my knowledge of music theory much though so I don't mind having this discussion/debate.
>>61067310
so fucking autistic. i hope you dont talk like that in real life you absolute shit cunt
>>61067349
I try not to. Pedantry is one of the worse sides of my personality.
>>61067289
get a tuner and tune them both and you'll see they are the exact same note, the bass is just 3(?) octaves lower
does it sound slightly out of tune or something, like the notes are clashing? that could be an intonation thing.
>>61067387
trolled kid, dont take it personal
I'm convinced you're all doing this on purpose
>>61067214
>three word response
>getting trolled pretty hard
You have pretty low standards.
>>61059762
>harmonic melodic dominant Phrygian
so many contradictions
>>61067434
Thanks. I was beginning to think it might be worse than I thought.
>>61067536
>taking my post this serious
welcome to rekt town: flaming cheeks edition
population: you
>>61067082
>some instruments need to be transposed
dont you think a trained composer would know that?
Literally the first composition assignment in first year is to write a piece for a transposing instrument.
>>61067669
Whatever you want.
ITT: synesthetes with perfect pitch and idiots.
>>61060221
As the person you were responding to, I agree.
>>61069351
Haven't you ever heard an orchestra change key? it makes a big difference.
maybe hard to write out notation with, but certainly not hard at all a key to play in.
stick to your bflat kiddo.
>>61060183
>You're wrong. If you were right, then modulation wouldn't exist.
You can hear a modulation when the modulation occurs. When the key changes in Love On Top, you can hear the modulation up a semitone and it gives a feeling of excitement. But after a while your ear adjusts to the new key and your brain automatically starts 'comprehending' the melody and harmony pretty much the same way as it would do in the original key.
Unless you have perfect pitch and can recognize frequencies rather than intervals. This person is entirely right. Most people do not hear much qualitative difference between major keys.
>>61069527
See this post >>61069564
>ITT: people at different levels of theory/harmony/musicianship classes bickering with each other.
>>61069618
>people ITT know less than I do
I'm aware of that.
>>61069564
i think the problem a lot of musicians have is they seem to think the people listening understand it on the same level as the person playing it, which isn't the case unless they themselves are musicians
like take this for example:
>>61060543
>For example when I hear a band play their song down a tone to accommodate for a singer who bit off more than he could chew in the studio, it immediately feels different.
this is relative pitch. most regular non-musicians are probably not going to notice things like this unless they listened to the song right before it was played and can compare the two. i'd say most people don't have very developed relative pitch like a musician
>>61069737
That's not quite what's usually meant by relative pitch, but I get what you mean.
I still think that talking about the difference between two versions of one song in different keys is quite different from trying to talk about the qualities of the key itself. If you're used to hearing a specific song with a specific melody sung by a particular person with a particular vocal range, and then you hear the same thing sung by the same musicians in a different key, you might notice some differences. In particular different parts of the singer's range are going to sound different. So if on the studio version, the singer really works to nail that high part, it's probably not going to have the same effect if that high part is moved down a few semitones. It'll probably lack some of the drama and excitement.
Which is all quite different from saying, as a general statement, 'E-flat sounds like this', 'F minor sounds like that', 'F-sharp sounds bad', et cetera which is what some folks were doing in this thread. That type of thing I don't hold with.
If you dont think different keys have different timbres in an orchestra, you probably just dont know enough about orchestration or orchestral music.
Instruments have very different timbres depending on the exact notes they're playing. Certain keys emphasize specific notes, causing a change in timbre.
Combine this with the registral limitations of each instrument and you have even more change in timbre.
Bb and A sound very different if you have the ears to notice.
Timbre is the reason keys sound different
>>61060548
>Most people, however, due to not having perfect pitch, will simply stick to seeing what the 7th scale degree is - is it a leading tone? or is it subtonic? This type of tonalization is very useful for determining keys.
What the fuck did I just read? Please leave music theory and never come back.
>>61070380
I think you're giving these people way too much credit. And if you mean that a certain key sounds a certain way on a certain instrument, you should say just that rather than ascribing attributes to the key itself. In electronic music, you could make something with the same timbre in E and in E-flat, so the key is not the crucial variable.
There's a ton of music outside of orchestral music, and you don't need me to give you examples. And even when speaking about an orchestra, I think you're going to have a tough time generalizing about keys. It might be easier for the brass to play in B-flat, but that's probably not going to be the same for the strings or the glockenspiel. You could also have brass instruments that were built to accommodate playing in a different key than usual. I also think you're giving those making generalizations about keys ITT too much credit because I seriously doubt they know the intricacies of construction of certain orchestral instruments and how they interact with the timbre produced by those instruments. And if you did want to talk about that, you should be quite clear and specific about what you mean. You shouldn't generalize about keys.
A440 is bad. Repitch your albums to a432
>>61070695
A432 minor. The saddest of all keys.
>>61070717
Its not a key mang.
>>61059996
>It6
>not Gr6
Ha
>>61063923
top fucking kek m8 I didnt think you'd get this assblasted about it
>>61070484
are you fucking stupid? I could not have been clearer. People listen for Ti and Do in order to tonisize themselves all the fucking time. Source - both of my fucking professors with DMAs you fucking fag
how is this thread still alive?
>>61070913
How does knowing whether the 7th degree of the scale is a subtonic or a leading tone help you find out the key? In every major/ionian scale the 7th degree is a leading tone, not a subtonic. And if the 7th degree is a subtonic, that just means the 7th degree of the scale is two semitones below the tonic. It doesn't tell you what note the tonic is. For someone without perfect pitch, this is not useful at all.
Also, "tonalization" is a real term, but it seems to be specific to the Suzuki Method and you don't seem to be using it correct;y. "Tonisize" just straight up isn't a word. "Tonicize" is a word, but again, doesn't mean what you seem to be using it to mean.
As for listening for Ti and Do, how does that do any good if you don't know what actual notes Ti and Do are in absolute terms? Not much good, really.
You may have music professors but you must be a shitty student because you aren't making any goddamn sense. Even giving you an unreasonable degree of benefit of the doubt, you're expressing yourself very poorly.
>>61058124
>>61058321
I think it's Locrian, and I think this effect occurs because e.g. a B locrian scale contains all the notes of a C major scale; that is, when you play a B locrian scale it sounds like you're playing a C major scale. So, it won't sound 'finished' until you play that 'final' C.
Then again I know jack shit about music theory and was just playing around on my cheap ukulele.
