Personally, when I write, I like to let the music have a life of it's own, and flow whichever way is besst for the piece itself. With that being said, if you are conciously trying to manipulate the music you can only really generalize and try to survey and target one group of listeners who have common emotional/tonal/rythmic triggers.Īyway, it's all just food for thought. What makes an individual tick is completely subjective. I think that one must also realise that the things that trigger a person to emote are different and vary from one to another. For instance, a C Major chord will have a different effect when played on a set of orchestra bells in a high octave, then when played by a pipe organ in it's lowest register.īesides these, there are many more points that can be made to what makes music "Happy" of "Sad". Orchestration ad arranging also plays a large part in feeding to make one feel a desired emotion while listening. Even throughout classical music literature you will find many of the greats using borrowed chords from different modes, all within in a single opus. Yes, modes are great things to start to understand tonal relationship, however I find that the many most compelling works don't stick to just one given mode. those feelings are generated through the tonal relationships between chords, and the timing/syncopation used in a piece. I feel that the "Happy" or "Sad" quality of a song is not completely dependent on which note or chord is bieng played. People play songs in different keys for different keys for singers all the time to accomodate their different vocal ranges. I think people heard that and thought it was true, not getting that it was a joke. I think this whole thing about there being a "saddest key" all came from a joke in "Spinal Tap" where Christopher Guest said something about something being the saddest note or the saddest key. I have gone so far as to go and transpose peoples keyboards while they were away and when they come back and don't know they are playing up a half step off, I can say "you see, it is the relation of the notes to eachother, not the key." I have had this arguement a thousand times with people. I read all this stuff in a book last year and it really makes sense if you think about it. The Happiest key is F (which is surprising since the happiest note is B.) Also, I learned in one of my college music theory classes that Eb minor is the "saddest" key, the second saddest is the key of A. The only difference is it will just be transposed 2 full tones in pitch.Īctually, it has been scientifically proven that "B" is the "happiest" musical note. It will sound exactly the same as the example in the key of "C" since we are doing exactly the same thing. I would center my bassline around "F#" and use the chords F#minor and C#minor. So in this instance, the chords I have to work with are Now if i wanted to do this in the key of "A", the notes in that scale are A,B,C#,D,E,F#,G#. having the bassline centered around A will give a minor contrast when played against most of the chords in the key of C. Then I would play around with the chords D and E since they are minor in the key of C, but you don't have to restrict yourself to minor chords. So you would center your bassline around "A" since it is the 6th note in the key of C, and the 6th mode is minor. To write something sad sounding you would use the minor mode. The 2nd, 3rd,6th are minor, and the seventh is diminished. In scales, the 1st,4th,5th chords are major. The chords you can work with in the key of C are You can use these modes in any key since it's intervals that you want to preserve.
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