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Moderator: Capt. Black

#786015
null_pointer wrote:...as an aside, anyone else have Sweet Home Alabama used as the D Mixo example when having this explained to them for the first time?


- I'm going to say it should be considered in the key of Dmaj, SCOM in Dbmaj. Both use a borrowed bVII7 chord ( the descending whole tone movement)

- People might think of a song being in a certain key by the way it feels or resolves. This clearly in some ways is subjective.

- I might write something on the stave in a key to save on overusing accidentals on the staff lines.

- Having a key symbol indicated (before the time signature) also will not tell the student is it Cm or Ebmaj as both 3 flats (Ab, Bb, Eb)
#786039
As far as learning songs as a band go, some of the kiwi tunes are deceptively tricky. Dominion Road took a bit of work. There's subtle rests and parts with tricky timing to get right, for us uneducated hacks anyway.
#786050
To be fair, all the music academics I’ve spoken to about technical matters involving keys, descriptions etc point out there is no right or wrong but rather just matters of convention.

When I refer to a “key” I will base that on reference to the tonal centre and the “flavour”. Eg A Dorian. Because that’s the most informative. But I do agree that when I was doing my classical training “key” meant either the major or minor to which the key signature related and one n ver talked in terms of modes.
#786147
Late to the party, but +1 on Mr Brightside being right up there, although admittedly I've never properly sat down and given it too much time. Not Top 40, but there are a few acoustic riffs from John Mayers first album in particular which my hands just physically aren't big enough to play...
#786152
This bloke just came round to check out (and buy) an acoustic for his daughter.

Man, I don’t know what he was playing, but if that was noodling I have a way to go.

Was probably top 40 in the blues and flamenco charts some time ago. Wow.
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