Simply put, the best results can be obtained in C. Don't take my word for it, try it for yourselves
Crikey, fancy Mozart, Rachmaninov, Bach, Handel, Wagner etc etc ...not knowing this!
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Simply put, the best results can be obtained in C. Don't take my word for it, try it for yourselves
N i g e l wrote:RichardT wrote: it’s quite common for musicians to give keys certain qualities. Before equal temperament, each key had slightly different intervals
no no no ! Equal temperment is the bodge.
The natural doh ray me ... scale exists for each of the base notes and are harmonious to the ear.
The equal temperment scale is based on mathmatics that minimise the frequency error for each of the scales when they are compressed into 12 notes/frequencies.
[fretless instrument & gypsie jazz players stop laughing now !!!! ]
each of the scales therefore has differnt errors, giving different emotions & qualities.
Modern synthesizers allow for the different rootnote/scales & its on my list of things todo once ive mastered the bigger picture of choosing the right notes, playing them in the right order & at the right time.
in the mean time [normal times] listen to the Academy of ancient music, playing authentic scales on authentic instruments.
"If it isnt baroque dont fix it "
RichardT wrote:N i g e l wrote:RichardT wrote: it’s quite common for musicians to give keys certain qualities. Before equal temperament, each key had slightly different intervals
no no no ! Equal temperment is the bodge.
The natural doh ray me ... scale exists for each of the base notes and are harmonious to the ear.
The equal temperment scale is based on mathmatics that minimise the frequency error for each of the scales when they are compressed into 12 notes/frequencies.
[fretless instrument & gypsie jazz players stop laughing now !!!! ]
each of the scales therefore has differnt errors, giving different emotions & qualities.
Modern synthesizers allow for the different rootnote/scales & its on my list of things todo once ive mastered the bigger picture of choosing the right notes, playing them in the right order & at the right time.
in the mean time [normal times] listen to the Academy of ancient music, playing authentic scales on authentic instruments.
"If it isnt baroque dont fix it "
No, under equal temperament all keys sound the ‘same’ - they are all wrong, I agree.
Ramirez wrote:Sorry if I’m missing something here, but surely you set it to the key of the song?
Ramirez wrote:RichardT wrote:N i g e l wrote:RichardT wrote: it’s quite common for musicians to give keys certain qualities. Before equal temperament, each key had slightly different intervals
no no no ! Equal temperment is the bodge.
The natural doh ray me ... scale exists for each of the base notes and are harmonious to the ear.
The equal temperment scale is based on mathmatics that minimise the frequency error for each of the scales when they are compressed into 12 notes/frequencies.
[fretless instrument & gypsie jazz players stop laughing now !!!! ]
each of the scales therefore has differnt errors, giving different emotions & qualities.
Modern synthesizers allow for the different rootnote/scales & its on my list of things todo once ive mastered the bigger picture of choosing the right notes, playing them in the right order & at the right time.
in the mean time [normal times] listen to the Academy of ancient music, playing authentic scales on authentic instruments.
"If it isnt baroque dont fix it "
No, under equal temperament all keys sound the ‘same’ - they are all wrong, I agree.
Surely not. Equal temperament is a way of incorporating all keys with 12 ‘fixed’ pitches, so the relationship/ratio between intervals/scale degrees inherently have to be compromised, so different keys could conceivably sound different.
Just tuning, on the other hand, maintains the same ratio between scale degrees/intervals in all keys, so it is these that will sound the ‘same’.
Ramirez wrote:I don’t see how one interval can be more ‘natural’ than another.
With just intonation a perfect fifth, for example, has a frequency at a ratio of 3/2 of the root note. This is regardless of key. As such, the relationship between the pitches is the same in all keys, regardless of any absolute frequency values
N i g e l wrote:RichardT wrote: it’s quite common for musicians to give keys certain qualities. Before equal temperament, each key had slightly different intervals
no no no ! Equal temperment is the bodge.
The natural doh ray me ... scale exists for each of the base notes and are harmonious to the ear.
The equal temperment scale is based on mathmatics that minimise the frequency error for each of the scales when they are compressed into 12 notes/frequencies.
[fretless instrument & gypsie jazz players stop laughing now !!!! ]
each of the scales therefore has differnt errors, giving different emotions & qualities.
Modern synthesizers allow for the different rootnote/scales & its on my list of things todo once ive mastered the bigger picture of choosing the right notes, playing them in the right order & at the right time.
in the mean time [normal times] listen to the Academy of ancient music, playing authentic scales on authentic instruments.
"If it isnt baroque dont fix it "
Murray B wrote: But this could also explain the claim that Dm is also a key of extreme power and is perhaps the saddest of all keys.
Commander wrote:I tell you what though, this conversation has become incredibly scientific for a vocal effect that actually makes a person sound like a frog in a bucket trying to sing the Aria from La Boheme. In my view NO amount of discussion as to which key is better for Autotune will improve the end result.
And so for that reason I say Fmin9th ...
Sam Spoons wrote:N i g e l wrote:RichardT wrote: it’s quite common for musicians to give keys certain qualities. Before equal temperament, each key had slightly different intervals
no no no ! Equal temperment is the bodge.
Yup, it is but, RichardT, each key had slightly different intervals only when played on an instrument tuned with just intonation in a single key. Not sure I'm using the right words here*
blinddrew wrote:Murray B wrote: But this could also explain the claim that Dm is also a key of extreme power and is perhaps the saddest of all keys.
What you did there ^^^, I saw it.
RichardT wrote:Ramirez wrote:I don’t see how one interval can be more ‘natural’ than another.
With just intonation a perfect fifth, for example, has a frequency at a ratio of 3/2 of the root note. This is regardless of key. As such, the relationship between the pitches is the same in all keys, regardless of any absolute frequency values
Yes, but just intonation is specific to a key - just intonation in C major does not use the same pitches as just intonation in E. If you play an instrument tuned in just intonation in a different key from the intended one it can sound really bad.
Ramirez wrote:RichardT wrote:Ramirez wrote:I don’t see how one interval can be more ‘natural’ than another.
With just intonation a perfect fifth, for example, has a frequency at a ratio of 3/2 of the root note. This is regardless of key. As such, the relationship between the pitches is the same in all keys, regardless of any absolute frequency values
Yes, but just intonation is specific to a key - just intonation in C major does not use the same pitches as just intonation in E. If you play an instrument tuned in just intonation in a different key from the intended one it can sound really bad.
Yes, and that’s the whole point isn’t it. Just intonation maintains the ‘correct’ ratios between intervals, but can only accommodate one key. The tuning has to be changed in order to maintain the ratios in a different key. I.e in order to sound the same.
As I said, a perfect fifth is a frequency 2/3 of the root, regardless of key. That relationship stays the same, and the tuning is adjusted to accomodate the key.
In other words, the intervals are the same as long as you’re tuned to the correct key.
RichardT wrote:Well, in that case, I think we agree!
Before equal temperament, each key had slightly different intervals
Ramirez wrote:RichardT wrote:Well, in that case, I think we agree!
Good... but what I said is in complete disagreement withBefore equal temperament, each key had slightly different intervals
!
RichardT wrote:blinddrew wrote:Murray B wrote: But this could also explain the claim that Dm is also a key of extreme power and is perhaps the saddest of all keys.
What you did there ^^^, I saw it.
It went way over my head - what did you see?
Ramirez wrote:In other words, the intervals are the same as long as you’re tuned to the correct key.