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22

Sharp-keys are in some ways nicer to play than flat ones. The preference for these keys is perhaps most extreme in folk styles: going through two collections of celtic-style fiddle music[978-1-85720-202-1],[1-871931-04-5], I found the distribution to be this crass: ♭♭ : 5 ♭  : 5 ♮  : 7 ♯  : 57 ♯♯ : 70 ♯♯♯: 9 In particular D major is really a great ...


19

Your teacher is referring to the Doctrine of Ethos which was for the Greeks, a belief that listening to a certain type of music influenced your mood or character as a person. Throughout the centuries, this belief has taken various forms - from the key of Eb used in marches for nobility, D major being joyous, C minor being introspective, D minor being "the ...


19

Music has nearly infinite potential for subtlety, and yes, drums might seem more simple on the surface, but after a few years in music school you'll be tuning drum heads every time you sit down at a snare drum, have a mallet collection that weighs 30 pounds, and enjoy discussing the relative merits of different origin rosewood on your marimba. Most people ...


17

I would actually consider this to be ♭III - IV - I in B major, with the ♭III borrowed from the parallel minor key. In fact, with the ♭III chord, it's somewhat similar in character to one of the "Fellowship of the Ring" themes: I - ♭III - I (in your key, that would be Bmaj - Dmaj - Bmaj). It's the first three chords here. Soundtracks aside, this type of ...


14

When you play in D minor, the scale -- that is your "palette" of notes -- is: D, E, F, G, A, B♭, and C You'll find it's not possible to play a D major chord using those notes. D major contains an F♯. The simplest way to find the chord you want is to identify its root note, then play a triad starting on that note, using only the notes in the scale. So ...


14

When you say "Why are the key signatures in the major key like this", you are misusing the words "key signature", so let's start by explaining that. A key is a combination of: a choice of root note a choice of which set of notes are available to be played In traditional Western music -- the musical tradition in which "major" and "minor" makes sense -- a ...


12

You may want to read this Wikipedia article section, concerning harmonic minor. Short summarized, this variant of minor keys reduces the gap between 7th and octave, so that the seventh tone can be used as a leading tone similarly as in major keys.


12

The notes C, E and G played together are always a C major chord. A C major chord is always the notes C, E and G. Fret that shape on a guitar, and it's always C Major. When you play in a different key, C major's role changes. If you're playing in the key of C major, then C major is the root chord - the I. F is the fourth chord (IV) and G is the fifth ...


12

The last chord harmony of most pieces give a feeling of ending. (It would, wouldn't it - otherwise the piece goes on, potentially).With no key signature, shown, a piece could be in C major or A minor. This last chord gives a big clue as to which key the writer thinks it's in. The presence of G#, showing usually a V-I cadence is also a good clue, except that ...


11

All F's should be sharp unless they have accidentals.


11

The answer is a relatively simple answer: it is easier for the violin an cello to play in those keys because of how the strings are configured. Look at this picture of a G scale on the violin: As you can see, the G major scale fits very nicely on as the open strings notes make the scale extremely easy. Also because of the open string notes, many other ...


10

You confusion is coming from mixing "common practice" harmony theory with pop music. Both of the songs you linked are in the key of D. We know this because the D chord and melody notes clearly have tonic function, meaning they are used as a harmonic "home base", and the other chords played are designed to create a tension that resolves to D. If this was a ...


10

This is an excellent and important question. In a minor key, all 4 possible combinations of 6th and 7th scale degree are used, and each combination corresponds to a scale: b6, b7: natural minor (aeolian) b6, 7: harmonic minor (creates a dominant V chord with a leading tone to the root of the key, so it was 'invented' for harmonic reasons) 6, 7: melodic ...


10

C Major is a tempting key on the piano. I would suggest trying to improvise in G Major and F Major. G Major only has 1 sharp, and F Major only has 1 flat. They're pretty easy to improvise over and since you only have 1 black key to worry about it won't be much harder than improvising in C Major. Just stick with those keys for a while, so that you can break ...


10

This depends on the circumstances, but I would suggest it is more common to write no key signature (or the best closest match like "F" if all B tends to be Bb.) especially in the case of changes that last only a few measures. Here are my reasons: 1) It's not normal for jazz music to include alot of key changes written as new key signatures. This will happen ...


9

Consider how the key change is approached. In Bb, the chord progression is just going from I to IV and back again, i.e. Bb - Eb - Bb - Eb. The key change comes right off of one of those IV chords, so you get a movement from Eb to Eminor. This sounds like a key change up half a step, which is rather common in this genre--this hides the fact that the tonic ...


9

"Can you say ANYTHING that is 100% reliable about any of these musical terms?" Yes, most of the term you mentioned, "scale, key, chord, tonal, note" have proper definitions. However, an important difference between your idea of science and music theory is that music theory is descriptive rather than prescriptive. Music theory does not dictate how music ...


9

Start playing with guitarists. They often prefer E, A and D. This means you move from purely white keys to white and black. In each there are patterns that are similar, but not exactly the same. Learn the scales that go with new keys - they are the basic notes on the menu for each new key. Often, particular bits of tunes work better to play in other keys ...


9

There isn't any hard and fast rule. The first thing is that the key signature narrows it down to two keys. So, for example, if there are no sharps or flats in the key signature, the key is either C major or A minor. Most of the time, the first few measures in the piece will establish whether you're in the major or minor key. Beethoven's 5th symphony is a ...


9

You can play any diatonic or modal melodies on white keys only, but anything beyond extremely basic harmonies will require the use of more than seven pitch classes (ABDCEFG). Of course, a virtual piano played on a computer keyboard is extremely limited to begin with, so perhaps playing melodies is all you're interested in. To play a diatonic or modal ...


8

You should focus on chord tones and half-step resolutions. Let's assume the key of C. The 7th chords in this key: Cmaj7: C E G B Dmin7: D F A C Emin7: E G B D Fmaj7: F A C E G7: G B D F Amin7: A C E G Bmin7b5: B D F A Let's use a classic jazz example, the iimin7 | V7 | Imaj7. In C, this would be Dmin7 | G7 | Cmaj7. To ...


8

The basic idea on how to establish a mode is make the tonal center of the progression and melody center the tonic of the modal scale and use harmony that signifies the mode you are in. For example this progression would signify C major. C - F - G - C The progression stats and ends with C and the melody to accompany this would use the notes of the C ...


8

This is correctly answered by @Pat Muchmore, but I wanted to elaborate a bit so you can find your own way to understand more about this notational device. I hope it helps. The key signature is a fixed set of either sharps or flats that appear immediately after the clef at the beginning of each staff. The set is fixed in the sense that they follow the ...


8

Okay, I only got a chance to listen to the first of your suggestions so far, Take the Power Back. It's interesting what you say about the relationship between major and minor, with respect to this song; there are other semitonal/chromatic relationships too. I only listened through once, but here are a few thoughts about the pitch use and harmony of this ...


8

I hope no one minds that I got curious, and did a bit of digging into this on my own. I discovered what appears to be an excellent resource answering this very question. The book is entitled Between Modes and Keys: German Theory, 1592-1802 by Joel Lester (1989). I do not have access to a copy of the book, but I've been able to see several relevant portions ...


7

It's been a while since I played harmonica but a C won't work for sure. You'll need either a E harmonica to play first position (or Straight harp), or an A harmo to play second position (blues style). Second position (cross harp), is a fourth higher than your tonality (that's five semitones). a key chart for harmonica The first position playing sound major ...


7

Even though you are learning the flute, I think it is worth understanding the piano keyboard, and thinking about key signatures in terms of that. It's worth experimenting with a piano, or an electronic keyboard, or even web app like this one. The white keys are the 'natural' notes A-G. The black keys are used to play sharps and flats. Notice that B flat ...


7

A key signature is a bunch of zero or more sharp or flat signs written at the beginning of each line of music (sometimes only the first line). It tells you which notes are to be raised or lowered by a semitone by default. When you start from C and play a scale of "just the names", that is C, D, E, F, G, A, B and C, without any sharps or flats you get ...


7

From your question, and some of your responses to comments, it sounds like you are relatively proficient playing in all the keys, and in improvising, but you find yourself modulating back towards C over the course of the improvisation, regardless of where you start. Am I interpreting you correctly? If this is indeed the case, then you may want to figure out ...


7

To practice improvising, practice improvising. Put on a recording that's in a key you want to be able to deal with, and start seeing what you can play against it. It's going to feel awkward at first, and that's OK; remember that when you first learned to improvise in C it wasn't all that easy either. Practice makes better. (I play an instrument which is ...



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