NinSheetMusic Forums

Here's where you state your favorite key. Use the poll to see where people's tastes are.

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Mine is C# Major. All 7 notes sharp.

Songs in G Major are generally the easiest for me to play on my violin. :D

There's something about F Major that I really like.

Love G Major and its relative, E Minor.

Favorite: Db major
Others: F major, Ab minor, D minor

Favorite Major: Gb/F#. Can be chipper or solemn, to my ears at least.
Favorite Minor: B or Bb. Both so different.

Favorite mode: Locrian. C locrian is nice.

Might as well do favorite set.
[026] and its inverse (046). Building those on D have resonated with me well.

Ab Major and its relative minor, Fm. Such beautiful keys.
And as a runner-up for favorite major key, Gb.

What about least favorite keys? Mine is C# minor. Too many overplayed classical pieces in that key xP
^{j/k about the above btw, if you can't tell. don't wanna anger anyone who might take it seriously}

I like C# minor because it's the key of the beautiful "Lily's Theme," the main theme from the final Harry Potter film. Also the vocals in that song are by Joe Hisaishi's daughter. Which is AWESOME.

My favorite key sig. is Db. Gotta love that Pi valve!

Quote from: Olimar12345 on July 06, 2012, 08:47:26 PMMy favorite key sig. is Db. Gotta love that Pi valve!

You do know that the key signature and the piece's actual key can be completely unrelated. The thread was asking for the latter  ;)

No, key signature should ALWAYS relate to key.

I often stick to Dm while improvising. It got that dark, mysterious sound to it

Hans Zimmer really likes Dminor. Main themes for Sherlock Holmes, Dark Knight, and Pirates are all in that key.

Quote from: SlowPokemon on July 06, 2012, 09:58:29 PMNo, key signature should ALWAYS relate to key.

Nope.

I hate to quote wikipedia for this, but here you go (http://en.wikipedia.org/wiki/Key_signature#Relationship_between_key_signature_and_key).

Taking Bartok for an example, he hardly used key signatures in many of his solo piano works. In his 14 bagatelles for instance, only the first one had a key signature (two, actually (http://img703.imageshack.us/img703/4410/bartokbagatelle1.png)). It doesn't mean the rest were in C or Am, and it doesn't mean they were atonal since Bartok didn't believe there was such a thing.

Quote from: SlowPokemon on July 07, 2012, 08:01:26 AMHans Zimmer really likes Dminor. Main themes for Sherlock Holmes, Dark Knight, and Pirates are all in that key.

Also interesting since he's my favorite movie-composer (whatever happened to that topic)

Quote from: zezhyrule on July 07, 2012, 08:21:40 AMNope.

I hate to quote wikipedia for this, but here you go (http://en.wikipedia.org/wiki/Key_signature#Relationship_between_key_signature_and_key).

Taking Bartok for an example, he hardly used key signatures in many of his solo piano works. In his 14 bagatelles for instance, only the first one had a key signature (two, actually (http://img703.imageshack.us/img703/4410/bartokbagatelle1.png)). It doesn't mean the rest were in C or Am, and it doesn't mean they were atonal since Bartok didn't believe there was such a thing.

Quote from: SlowPokemon on July 06, 2012, 09:58:29 PMNo, key signature should ALWAYS relate to key.

Even if the key signature is different, it can always be rewritten more cleanly with the key signature--which is always its TRUE key signature.

Quote from: fabbemannen on July 07, 2012, 08:23:44 AMAlso interesting since he's my favorite movie-composer (whatever happened to that topic)

Hans Zimmer is certainly appealing and talented at scoring films, but often lacks the depth of other composers. His music is simplistic and dramatic as opposed to the emotional depth of Danny Elfman or Howard Shore. Don't get me wrong, I'm a huge fan of Zimmer and his piece "A Dark Knight" for the same soundtrack is one of the most emotionally resonant pieces I've ever heard--but I feel like he concentrates more on making simple sound good rather than trying something more complex, and only truly moves his audience by accident. There isn't as much to analyze with Zimmer--but again, that's fine as he provides more listenable entertainment (well, most of the time....).

And I'm not trying to come across as one of those annoying Zimmer bashers because in truth I do love his work. I appreciate that each composer has a style that works for him or her.

Quote from: SlowPokemon on July 07, 2012, 11:29:52 AMEven if the key signature is different, it can always be rewritten more cleanly with the key signature--which is always its TRUE key signature.

Hans Zimmer is certainly appealing and talented at scoring films, but often lacks the depth of other composers. His music is simplistic and dramatic as opposed to the emotional depth of Danny Elfman or Howard Shore. Don't get me wrong, I'm a huge fan of Zimmer and his piece "A Dark Knight" for the same soundtrack is one of the most emotionally resonant pieces I've ever heard--but I feel like he concentrates more on making simple sound good rather than trying something more complex, and only truly moves his audience by accident. There isn't as much to analyze with Zimmer--but again, that's fine as he provides more listenable entertainment (well, most of the time....).

And I'm not trying to come across as one of those annoying Zimmer bashers because in truth I do love his work. I appreciate that each composer has a style that works for him or her.

I mainly like Zimmer for being "epic". It's those pieces where you just gets overwhelmed with that massive soundtrack and *insert something unexpected/overwhelming happening here* together. And the Madagascar-OST was kinda interesting

Quote from: SlowPokemon on July 07, 2012, 11:29:52 AMEven if the key signature is different, it can always be rewritten more cleanly with the key signature--which is always its TRUE key signature.

Now you're not making any sense. But there's no use arguing with you I guess.

What I meant was, that I prefer 5 flats. Idc the mode or key, really, I just like working with 5 flats. (Thought if I said Db you guys would know what I meant)

F major and its relative, D minor are my favorites: only one flat makes it easy to play, Eb instruments only has two sharps (when arranging for concert band), and there is something about the key that's just pleasant to listen to.
I also like E major & minor, but NOT for concert band arrangements! :)

Not to sound condesending, but I find this whole topic bogus. Other than what one might consider to be easier to play, there are no differences in keys besides the pitch itself, as the near-universal adoption of equal temperment in Western music circa 20th century eliminates any possible different tone colors between keys. Now if we used a form of well-temperment in modern music, then yes, this would be a very interesting topic...

Quote from: Bespinben on July 15, 2012, 09:54:25 PMNot to sound condesending, but I find this whole topic bogus. Other the what one might consider to easier to play, there are no differences in keys besides the pitch itself, as the near-universal adoption of equal temperment in Western music circa 20th century eliminates any possible different tone colors between keys. Now if we used a form of well-temperment in modern music, then yes, this would be a very interesting topic...

Not to refute the basis of equal temperament, but its goal wasn't to eliminate key differentiation. It does eliminate the tone-colors caused by the other tuning systems. However, as long as pitches are different, each key will resonate different to each person. I personally find E and F#/Gb to be very chippy major keys and Db to be a confused key. That's how those pitches resonate.
It's one of the reasons atonal became so popular while tonal systems began to fade in classical music.

hahah I LOVE THIS POLL XD

well i like the flat keys when it comes to piano. but on the violin....i like sharp....
xD i donno why

Sharps flow better on the violin because the strings are based on pitches related to sharp keys, G, D, A, and E. Tuning is more pure for these keys than others, as the string divides perfectly for the 4th and 5th.

Quote from: Bespinben on July 15, 2012, 09:54:25 PMNot to sound condesending, but I find this whole topic bogus. Other than what one might consider to be easier to play, there are no differences in keys besides the pitch itself, as the near-universal adoption of equal temperment in Western music circa 20th century eliminates any possible different tone colors between keys.

I don't know if you've played songs in alternate keys before, but if you have I think you've probably noticed that some keys sound better for certain.... I don't know.... expressions (if you will). It really depends on the song.
For example, a favorite of mine is Sky Sands (//http://) from Kirby Air Ride. It's in E minor, but also sounds nice in C# minor.
It doesn't sound great in every key though.
I'm currently developing the ability to determine a key by general tones only.
So each key has it's own... tone. It's own... feel. It's really all about personal preference.

When I started this post, I wasn't exactly talking about which are more playable on a given instrument, but what sound each individual likes best.
But it doesn't really matter... I'm not about to complain.

Quote from: pumpy_heart on July 15, 2012, 11:22:20 PMHowever, as long as pitches are different, each key will resonate different to each person. I personally find E and F#/Gb to be very chippy major keys and Db to be a confused key.

Quote from: JDMEK5 on July 16, 2012, 07:55:15 PM...each key has it's own... tone. It's own... feel. It's really all about personal preference.

When I started this post, I wasn't exactly talking about which are more playable on a given instrument, but what sound each individual likes best.

Perhaps that's one of my musical weaknesses. I tend to approach approach music more as a science than an art, and, for whatever reason, I simply can't feel these differences between equally tempered keys. It's just... so arbitrary, and it frustrates me at times.

Quote from: Bespinben on July 16, 2012, 11:03:49 PMPerhaps that's one of my musical weaknesses. I tend to approach approach music more as a science than an art, and, for whatever reason, I simply can't feel these differences between equally tempered keys. It's just... so arbitrary, and it frustrates me at times.

It isn't often people use Fmajor for a dark and mysterious dungeon for example. Some keys suit better for some stuff and etc.

Quote from: Bespinben on July 16, 2012, 11:03:49 PMPerhaps that's one of my musical weaknesses. I tend to approach approach music more as a science than an art, and, for whatever reason, I simply can't feel these differences between equally tempered keys. It's just... so arbitrary, and it frustrates me at times.

Aww that's depressing. :( someone as talented as you really deserves to feel the music and see it as an art.

Who says he needs to look at it as an art more than a science?

Look at Iannis Xenakis, he seemed to make it work.

I do. You get much more out of music approaching it as an art than as a science. I honestly don't give a fuck how much more successful you are approaching it logically (excuse my language). That's something I'm entirely opinionated on, music should be about passion. :PPP not that the two can't be mixed, but...

Art>>››››››››››Science

When I say "approaching music more as science than art", I am meaning to say that I have a much easier time comprehending and appreciating aspects of music than have a certain degree of measurability. Making transcriptions or arrangements comes easily because there's a relative sense of measurability, of how well one captured or expounded on the original as well as how playable it is on the given instrument. It's not an exact science perse, but it's still somewhat measurable.

When it comes to the tones of different keys though, in my case, it's like asking whether I'd like to eat ice cream in a bowl or in a cup. Sure, the presentation is slightly different, but the ice cream is still the same.

Quote from: Bespinben on July 17, 2012, 08:53:18 PMWhen it comes to the tones of different keys though, in my case, it's like asking whether I'd like to eat ice cream in a bowl or in a cup. Sure, the presentation is slightly different, but the ice cream is still the same.

I like that example.

Quote from: JDMEK5 on July 18, 2012, 08:26:02 AMI like that example.

Second that

Quote from: Bespinben on July 17, 2012, 08:53:18 PMWhen I say "approaching music more as science than art", I am meaning to say that I have a much easier time comprehending and appreciating aspects of music than have a certain degree of measurability. Making transcriptions or arrangements comes easily because there's a relative sense of measurability, of how well one captured or expounded on the original as well as how playable it is on the given instrument. It's not an exact science perse, but it's still somewhat measurable.

When it comes to the tones of different keys though, in my case, it's like asking whether I'd like to eat ice cream in a bowl or in a cup. Sure, the presentation is slightly different, but the ice cream is still the same.

You'll see in time grasshopper. The ice cream has many flavors, inherently composed by the chefs of the world. It's up to the musical performer to decide how to present it, be a bowl, cup, or a cone. 
Chocolate will always be different from vanilla, as will all the keys be inherently different as each start on a different pitch. If you get a chance to, try to develop relative hearing. You'll begin to realize what hits your core and what resonates with you.

Quote from: pumpy_heart on July 19, 2012, 08:32:02 AMYou'll see in time grasshopper. The ice cream has many flavors, inherently composed by the chefs of the world. It's up to the musical performer to decide how to present it, be a bowl, cup, or a cone. 

*presses the like-button*

Quote from: pumpy_heart on July 19, 2012, 08:32:02 AMYou'll see in time grasshopper. The ice cream has many flavors, inherently composed by the chefs of the world. It's up to the musical performer to decide how to present it, be a bowl, cup, or a cone. 

Couldn't have said it better myself!

Pumpy sure is good with words. :)

Quote from: Bespinben on July 17, 2012, 08:53:18 PMWhen it comes to the tones of different keys though, in my case, it's like asking whether I'd like to eat ice cream in a bowl or in a cup. Sure, the presentation is slightly different, but the ice cream is still the same.

Just because you can't sense that the flavor of the ice cream is in fact changed entirely and not just the vessel it's contained in, doesn't mean that the flavor/texture whatever isn't changed. If you get what I'm saying. Because I don't. These analogies confuse me  :-\

What happened to Bb? Not common? I like that key the most. A lot of beautiful songs are written in Bb major. :D

I ran out of options on the poll. :P That would've been next.

But yeah, Bb is extremely common. Especially for jazz and orchestral works.
(Might have something to do with the fact that a lot of instruments such as trumpets clarinets are usually in Bb)

C# minor- much easier to remember songs in this key for me.

Yeah, that's really nice. My favorite in C# minor is the third movement of the famous Moonlight Sonata (http://www.youtube.com/watch?v=oqSulR9Fymg) by Beethoven.

^lol, that's one of the songs I memorized.

And the Revolutionary (http://www.youtube.com/watch?v=C990gcs-fiM) Etude, originally by Chopin, transcribed for left hand by Godowsky.

Moonlight Sonata is fun but it's too overplayed -_o everyone should learn it though

C#minor is best - Lily's Theme (http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CDUQtwIwAA&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DuI_9kZ2qZNE&ei=IXsgUOGaLo6a9QSFxIGgBQ&usg=AFQjCNFmcSd-IEwcmX3X4nyqqZzbnbwVww&sig2=ZYepQBlgbBZLomFaw2kZEQ) from the last Harry Potter theme

C major is really easy for me on ocarina :P

Although C, D, G, A, sometimes E, B-flat, and rarely A-flat are really easy, I prefer C-sharp. Ohmigoodness I looove that key!!