Favorite Key Signatures?

edited 2014-01-25 23:43:06 in General














C Minor, E minor, Eb Major, Bb Minor, G minor, Eb Minor.




Comments

  • Touch the cow. Do it now.
    X major
  • “I'm surprised. Those clothes… but, aren't you…?”
    I could go off about how the moods of different keys tend to be flattened out by equal tuning systems, but even so, pitch is a weird thing.

    I gravitate toward F as a pitch centre a lot. Also F sharp and B flat.

    I think that my ideal key is a neutral or subminor scale in F half-sharp.
  • edited 2014-01-25 23:26:13
    “I'm surprised. Those clothes… but, aren't you…?”
    B Locrian is a bitchin' mode, I must say.

    Also E Locrian, flattened fourth, because:


    (I'm pretty sure that's an F minor there.)
  • imagei will watch the heck outta this pumpkin patch
    this is going to sound dumb, but all major keys sound basically alike to me

    ditto all minor keys
  • “I'm surprised. Those clothes… but, aren't you…?”
    Tachyon said:

    this is going to sound dumb, but all major keys sound basically alike to me

    ditto all minor keys

    Well, that actually gets back to what I was alluding to earlier: When all of the intervals in a scale are the same size, every key has the same feel but for having a different pitch. In irregular tunings, however, because the different degrees of the scale have different values in different keys, then the keys feel different: A fifth or a minor third might be more consonant in one key than in another, a minor second might be wider or narrower, and so on.
  • edited 2014-01-26 02:32:04
    @Tachyon: an addendum to what Sredni Vashtar said: "equal temperament" is the currently conventional tuning system, and it consists of tuning all intervals between adjacent keyboard keys roughly the same.  This is the most commonly-heard tuning these days, and consequently it might actually be contributing to "key in-distinguishableness".  Maybe.

    In the past people have used other tuning systems, such as "mean temperament" and "well temperament".  (The point of Bach's "Well-Tempered Keyboard" prelude-and-fugue pairs was to illustrate the keys in an effort to get well-temperament widely adopted.)  You may be interested to search Youtube for some comparisons...my net is slow right now so I can't.

    Mean temperament, in particular, was known for screwing over some of the more rarely-used keys.
  • edited 2014-01-26 02:43:38
    F# major
    B major
    E major
    F# minor
    C major
    Ab minor (but not G# minor, oddly.  though sometimes.  maybe.)
    Bb major
    C minor
    D minor
    Eb minor (maybe D# minor?)

    or something like that.  Ask me on a different day and D minor might not be on there but G minor might be instead.  It varies.

    choice of key doesn't matter _that_ much to me, though.  It just becomes woven into the identity of a piece of music.  For example, Omoi wo Kanadete uses E-flat major's feeling of "ordinary"-ness along with specific other cues (melodic and harmonic ones, I think) to give off a tinge of nostalgia.
  • edited 2014-01-26 02:43:45
    “I'm surprised. Those clothes… but, aren't you…?”
    ^^ Yeah, the thing about meantone tuning (of which there are several kinds) is that you need at least seventeen different notes available to get the full twelve major/minor pairs and anywhere from nineteen to eighty-eight(!!!) to create a closed circle of intervals. The usual sort used is basically twelve to nineteen notes out of thirty-one equal parts of an octave.

    Now, why would anyone do this? Because the major third in such a tuning (specifically, the thirty-one note variant) is nigh-perfectly in tune with the fifth overtone in the harmonic series, and thus pleasing to the ears. Divide an octave into twelve parts and the equivalent third is much less smooth.
  • imagei will watch the heck outta this pumpkin patch
    ...music theory is confusing.

    Thanks for the explanations.
  • tl;dr: there are different tuning systems and different people and cultures have different opinions on them.
  • edited 2014-01-26 05:00:17
    imagei will watch the heck outta this pumpkin patch
    it wasn't all that l and i did r

    it's just, well, the terminology goes a bit over my head, and i'm struggling to visualize it in concrete terms.
  • Personally, I prefer to make my signature with a pen or pencil, as they are writing implements. I'm curious as to how you would make a signature with a key.
  • “I'm surprised. Those clothes… but, aren't you…?”
    Tachyon said:

    it's just, well, the terminology goes a bit over my head, and i'm struggling to visualize it in concrete terms.

    Cents are a good way to visualise these things, but that requires me to explain cents. Which is not that complicated, but... the experimental composer Kyle Gann does it pretty well here.
  • imagei will watch the heck outta this pumpkin patch
    thanks
  • “I'm surprised. Those clothes… but, aren't you…?”
    You're welcome. I hope that it helped.
  • imagei will watch the heck outta this pumpkin patch
    i think so... i'm going to have to read it again

    these are entirely new concepts to me
  • even as someone who makes music, I know little about it beyond what notes are represented on FL Studio's piano roll.
  • edited 2014-01-27 15:53:45
    imagei will watch the heck outta this pumpkin patch
    well i took a class in A-level music tech, which had a fairly substantial theory component, so this goes to show how much i learned

    admittedly i failed to complete the course the first time round (scraped an E the second time)
  • edited 2014-01-27 14:38:12
    “I'm surprised. Those clothes… but, aren't you…?”
    ^^^ It's kind of arcane subject matter. A lot of people that play chamber instruments aren't completely aware of this stuff.
  • imagei will watch the heck outta this pumpkin patch
    it's a very low grade
  • edited 2014-01-27 14:42:39
    “I'm surprised. Those clothes… but, aren't you…?”
    The lowest passing grade.

    Also, Takyon ninjutsu.
  • Ah, in the US we don't have E. Anything below a D is failing.

    In fact a D itself is failing in many situations, just not always.
  • “I'm surprised. Those clothes… but, aren't you…?”
    We had a distinction between E and F in our school at one point, but both were considered failing, a bit like the "near-pass"/failure distinction mentioned in the UK grading article.
  • edited 2014-01-27 15:16:17
    I've learned extensively about music theory, and I don't know much about pitch systems.

    Then again, my music theory education was mainly focused on western classical music, and on the so-called "common practice period" (roughly 1600 to 1900), and on topics like form, harmony, style, instrumentation, and compositional and performance practices, rather than instrument design or tuning.  I have rather little knowledge of non-western tuning traditions, or things like quarter-tone innovations in the 20th century.
  • Touch the cow. Do it now.
    So lemme get this straight: back in Bach's day they used different tunings (such as the "well temperament") but nowadays we play that stuff in equal temperament which means every "Baroque" thing I've ever heard has been a LIE.


  • “I'm surprised. Those clothes… but, aren't you…?”
    In case you're wondering, this is what meantone sounds like:


    Also, a lot of ensembles recreating Renaissance, Baroque and early Classical music use authentic tunings.
  • Touch the cow. Do it now.
    well that is good
  • In case you're wondering, this is what meantone sounds like:



    Also, a lot of ensembles recreating Renaissance, Baroque and early Classical music use authentic tunings.
    this is much nicer than other baroque music i have heard
  • edited 2014-01-27 21:53:20
    “I'm surprised. Those clothes… but, aren't you…?”
    Because it's late Renaissance rather than Baroque proper, I think. The late 16th century was a good time for music. It's also a chromatic piece, as the title notes.
  • So lemme get this straight: back in Bach's day they used different tunings (such as the "well temperament") but nowadays we play that stuff in equal temperament which means every "Baroque" thing I've ever heard has been a LIE.


    Basically.

    I've heard that, at least for a lot of Bach's stuff, the modern turning system is half a half tone out of tune. 
  • Well, tuning reference is one thing; relative pitching is another.  Not sure what the proper terms are, but here goes:

    Back in the day, people used different...um, values, for two different tuning parameters.  I guess that's what you could call them.

    One's the way you space the notes in an octave.  There's twelve half-steps in an octave, but you can space them a little differently and make certain keys sound nicer than others.  (If they're all spaced the same, all keys sound equally as "nice" or sensible or whatever.)  Back in the day, they didn't necessarily space the notes the same ("equal temperament"), but sometimes they used schemes called "meantone" or "well temperament".

    The other's where you pin this spacing pattern.  So you have a treble-clef second-space A note.  You can space stuff differently after you figure out where the A is, but you still gotta decide where that A is.  These days, A is usually tuned to a frequency of 440 hertz.  Back in they day, they did 415 Hz or even 392 Hz.  A little lower.
  • “I'm surprised. Those clothes… but, aren't you…?”
    A covered a pretty wide range depending on the area: I remember a list of different values of that note by area and year ranked from highest to lowest, with the highest at 500 Hz (the early Baroque German Kammerton, now around B) and the lowest at 375 Hz (the pedal note of a certain 17th century French church organ, now around F#).
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