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|  Opinions about Keys and Modes etc... [MUSIC] | |
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PartySan
  Artist
Topics: 54
Replies: 6015
Registered: 20.Jun.04 |
DDspeed wrote on 07 Sep. (14:57) :
PartySan wrote on 07 Sep. (14:52) :
What does Bb mean and how do u imput that note in trackers?
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Bb means actually the same as A#. The difference between them is clearly theoretical.
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Thanx. 
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Nifflas
 Member
Topics: 80
Replies: 1599
Registered: 05.Mar.04 |
Why is d minor supposed to be more sad, than any other minor scale/key?
Fortunately, my music is much more interesting than my posts. |
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DDspeed
Artist
Topics: 24
Replies: 4892
Registered: 07.Jun.03 |
Ni wrote on 07 Sep. (15:13) :
Why is d minor supposed to be more sad, than any other minor scale/key?
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Because someone has a feeling that it is. 
Oh, I think the ultimate key is C minor. I think at least 50% of all minor music ever done is in C minor .
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etyrnal
Artist
Topics: 11
Replies: 134
Registered: 25.Jul.03 |
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DDspeed wrote on 07 Sep. (14:42) :
etyrnal wrote on 07 Sep. (13:50) :
PartySan wrote on 07 Sep. (7:15) :
troupe wrote on 07 Sep. (3:09) :
D Minor is the saddest of all keys. |
What's the key progression of D Minor?
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regular old D min. is...
D E F G A Bb Db D ... right?
or is it
D E F G A A# C# D ... ??
same thing only different right? 
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Actually it's D E F G A Bb C# D
But it can also be D E F G A Bb C D depending on the type of the minor scale. Unfortunately I can only talk about those things in Polish 
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my friend, i believe we speak the same thing.
i am not used to the idea of a key or scale having both sharps and flats...
that is why a Key Signature at the beginning of sheet music normally always refers to 2 sharps or 3 flats or 4 sharps - see what i mean? i don't know if it is customary to notate a Key that contains BOTH sharps and flats...
so a Db and a C# are the same note on an normal keyboard
...does ANYONE know if regular old D min. is two flats or two sharps?
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etyrnal
Artist
Topics: 11
Replies: 134
Registered: 25.Jul.03 |
PartySan wrote on 07 Sep. (14:52) :
What does Bb mean and how do u imput that note in trackers?
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Bb is just how i was trying to notate B flat
but Bb (flat) would also be A# (A sharp)...
i guess.
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DDspeed
Artist
Topics: 24
Replies: 4892
Registered: 07.Jun.03 |
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etyrnal wrote on 07 Sep. (16:37) :
DDspeed wrote on 07 Sep. (14:42) :
etyrnal wrote on 07 Sep. (13:50) :
PartySan wrote on 07 Sep. (7:15) :
troupe wrote on 07 Sep. (3:09) :
D Minor is the saddest of all keys. |
What's the key progression of D Minor?
|
regular old D min. is...
D E F G A Bb Db D ... right?
or is it
D E F G A A# C# D ... ??
same thing only different right?
|
Actually it's D E F G A Bb C# D
But it can also be D E F G A Bb C D depending on the type of the minor scale. Unfortunately I can only talk about those things in Polish
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my friend, i believe we speak the same thing.
i am not used to the idea of a key or scale having both sharps and flats...
that is why a Key Signature at the beginning of sheet music normally always refers to 2 sharps or 3 flats or 4 sharps - see what i mean? i don't know if it is customary to notate a Key that contains BOTH sharps and flats...
so a Db and a C# are the same note on an normal keyboard
...does ANYONE know if regular old D min. is two flats or two sharps?
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D minor has a key signature of one flat, but in the most common type of the minor key the seventh tone of the scale is sharpen.
it's true that C# and Db sound the same, but in theory those are a bit different notes.
I can tell - I study music, unfortunately I study it in my native language and I really can't tell you exactly why is it like this. Just belive me - the right D minor key is D E F G A Bb C# D, and C# is not indicated in key signature.
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etyrnal
Artist
Topics: 11
Replies: 134
Registered: 25.Jul.03 |
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DDspeed wrote on 07 Sep. (15:21) :
Ni wrote on 07 Sep. (15:13) :
Why is d minor supposed to be more sad, than any other minor scale/key?
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Because someone has a feeling that it is.
Oh, I think the ultimate key is C minor. I think at least 50% of all minor music ever done is in C minor .
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ha ha! that's sort of the key i use...
i write a LOT in that key... but i am always looking for the hauntingly beautiful sad song...
i know that expression, and timing, and rhythm , and etc are ALL playing a part - but i wonder if there is a scale who's ROOT note is closest in frequency to being a harmonic of the human emotions related to sadness...
know what i mean?
an overly simplified example would be : if a unusually sad human being's brain waves were resonant at some fraction or multiple of 440Hz - then i would think that A 440 would be the saddest note (hypothetically speaking) and also the A 440 minor scale would be the most SAD key possible? or maybe some Mode or a Diminished minor or an Augmented Minor?
i would think it would be whatever key had the most number of notes that resonated with the biochemical states associated with the emotion...
?
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PartySan
Artist
Topics: 54
Replies: 6015
Registered: 20.Jun.04 |
Try the blues progressions. They're about the same as minor progressions but with 2 or more notes changed... I don't know.
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Nifflas
Member
Topics: 80
Replies: 1599
Registered: 05.Mar.04 |
More exotic scales usually contain both #'s and b's, which is theoretically supposed to be like that (not written with only #'s, or b's). There's a pretty advanced explanation to this (which I don't understand really... erm.), but it is correct.
nice page about scales 'n stuff: http://www.pianoworld.com/fun/vpc/piano_chords.htm
Fortunately, my music is much more interesting than my posts. |
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Gopher
Member
Topics: 24
Replies: 1540
Registered: 05.Jan.03 |
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To answer the question on D minor, it goes back to "which one?"
In standard piano theory (which covers all 7-8 note scales, i.e. no pentatonics or blues or anything like that) there are two versions of minor scale - Harmonic, and melodic.
There may also be some confusion as to how all the sharpenings/flattenings come about, so I'll give the full crap since I got some time to write this.
btw:
Accidental is a name that means sharp, flat or natural.
By "standard scale" I refer to 7/8-note "tone, tone, semitone, tone, tone, tone, semitone" style of scales.
D minor can be found to be related to a major key - any standard minor key is three semitones BELOW it's "relative" major, so A minor is the relative minor of C major; in that same way, D minor is the relative minor of F major (count three notes EXCLUDING the note from which you start). From that you can work out any standard minor (at this point, harmonic and melodic are the same, the devil is in the details) using this method.
Now that we have established that D minor is related to F major, the actual scale can be built up. From basic theory, we know that F major contains 1 FLAT (if you didn't, you do now). Being related to the scale of F major, it inherits the accidentals in that key - therefore, we know that D minor has a B-flat in it.
Now, this is where the delineation between MELODIC and HARMONIC scales becomes known. So far, we don't have a minor scale, but the melodic and harmonic forms make it into a proper minor.
In a HARMONIC MINOR, the 7TH note is sharpened.
So, you have D, E, F, G, A, Bb, C#, D.
Did you see the accidental? What was C has now become C-Sharp. And, harmonic scales are the same going down as they are going up. So, when writing it out on a stave, you would write the key signature of F major (since that is the relative major) but sharpen the seventh note, so the scale of eight notes from low D to high D would have ONE SHARP.
Now, in a MELODIC MINOR, you do two things - you Sharpen the 7th, just like in Harmonic minors, BUT - you ALSO SHARPEN THE 6th.
So, when going UP (and this is important) you sharpen both the sixth and seventh.
However, it's also slightly different when going down - when going down from a high D to a low D, you ignore all the changes made - so, basically you are playing the relative major key, but starting from different notes.
So, to recap:
Harmonics:
Sharpen the 7th - same going up as going down
Melodics:
On the way up: Sharpen sixth and seventh;
On the way down: Play the relative major accidentals only.
And:
Relative minors inherit the accidentals from their relative majors.
Example
A minor:
Now, A minor is the relative minor of C major, as it is three semitones away. Incidentally, as C major has no sharps or flats, A minor inherits none.
So:
Harmonically, A minor goes like:
A, B, C, D, E, F, G#, A. 7th sharpened note is a G, which turned into a G#.
Melodically:
A, B, C, D, E, F#, G#, A going up (note the sharpened 6th and 7th);
A, G, F, E, D, C, B, A going down (note that these are the exact same notes that you play in the relative Major - only difference is, you start on A, not C)
Violá. QED.
DDSpeed, correct me if I'm wrong - was rather rushed.
Etyrnal:
If a human brain was resonant at a certain frequency, playing a pressure wave (i.e. sound) at that resonant frequency would very efficiently impart energy to the brain due to the phenomenon of resonance. Play it loud enough, and sufficient energy would be imparted to cause the brain to explode.
It is possible to collapse your lung by playing loud bassy music, since scientific research has shown that lung tissue has a resonant frequency between 40-160Hz (depending on each case, of course) so playing music at those frequencies VERY LOUDLY could cause destructive resonance.
You cannot alter a chemical reaction (which is what drives human functioning) through acoustic resonance. At least not directly, like you suggest.
Very lastly, just to get back on topic, I don't really consider any key sadder than the next. I like A minor because it's so simple; I like C# minor because I seem to run into it a lot and I am familiar with it. IMHO, it's not the key thats sad, but what you do with it, how you modulate and how you work with and around it.  |
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