Take me. I'm an ordinary player in the key of C. And my will was broken by my pride and my vanity. Who's gonna love you when you're looks are gone? God will. Like he waters the flowers on your window sill.
Somewhere, a sparrow is singing in B minor.
In the right key one can say anything. In the wrong key, nothing: the only delicate part is the establishment of the key.
I don't know a high C from a low C.
No disrespect to people that don't use music theory or don't know it. It does help to be able to figure out what key a song is in, even though with your scales you can figure it out so you can set your Auto-Tune right. So many songs with Auto-Tune are off or have the wrong note playing on the 808. And they pass it off as being hood.
Eighty percent of my pieces gravitate towards an A, as a tonal thing, not at the beginning, but somewhere in it.
On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.
I do better singing female songs because my voice is so high-pitched.
There was one incident where we couldn't hear ourselves, so we were singing in an entirely different key than the instruments. It gets so loud at a Jonas Brothers concert!
There is still plenty of good music to be written in C major.
I just downloaded the new Alvin and the Chipmunks album! They're the only guys that make music in my key!
D is a wholesome key. It's not bland, like C. It's not neutral. It's probably on the bright side.
The music is in minors.
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
Register is very important. Music sounds best in a certain register.
I do not mind having written the song at all. I just wish that I had written it in a different key, as the high d is hard to play. I am glad that I wrote something that brought joy to millions of people.
I hope the Canada Pops can play in E and A. I do 'Forty Days' and 'Bo Diddley'. I don't change songs, just bands.
The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.
There are only twelve tones and they need to be treated carefully.
My version of 'Fast Car' is in the same key as the original. To me that is where all the emotion lies.
And I've made it a choice on my records that sometimes I leave the breath or the trailing note that sometimes falls into a flat or a sharp.
Historically, the notes of scale systems anywhere have been based on these pure harmonics.
I understand that transposing a song a half step can effect the believability of a lyric.
Maybe the higher echelons of my range aren't as easily accessible, but that's OK; you change the key.
For me, the only thing that makes one scale different from another is not the starting note; it's the separation of the intervals.
