The post was "favorite" key. Alot of things can make a key favorite for someone and "ease and accessability" of open string inspired licks is one of them. Some keys force more difficult fingerings for the same bass line. Some keys like B natural and C# are used less and consequently passing tones etc. are not as familiar as in other keys.
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Favorite Key?
- Thread starter BaroqueBass
- Start date
No one ever said a preference had to be logical. And I think Marty thinks we're taking this more serious than we really are; you're catching all of the Spinal Tap references, right?
However...
I also DON"T think all keys are created equal. From a purely physical standpoint, the key makes a big difference in how you approach playing something (especially on a four string). Does the key allow for open strings? Where is the lowest possible root note? How does the key affect the tone - i.e. how much of the scale can I cover down in the 1st five frets? How much am I going to have to change position?
And what about slap? Are you saying it's as easy to play a slap line in Eb as it is in E? C'mon.
These are the kind of things that can shape one's preference. And if Eb were as easy to play in as E (and if it shares the same major tonality), why do so many guitar players detune?
Would you play blues in F the same exact way would in Db, just in a different position? I sure wouldn't.
And none of this addressing the fact that yes, of course, different keys have different tonal colors. If they didn't, we wouldn't even be having this discussion. Everything would be written in some variant of C. Zzzzzzzzzz......
However...
I also DON"T think all keys are created equal. From a purely physical standpoint, the key makes a big difference in how you approach playing something (especially on a four string). Does the key allow for open strings? Where is the lowest possible root note? How does the key affect the tone - i.e. how much of the scale can I cover down in the 1st five frets? How much am I going to have to change position?
And what about slap? Are you saying it's as easy to play a slap line in Eb as it is in E? C'mon.
These are the kind of things that can shape one's preference. And if Eb were as easy to play in as E (and if it shares the same major tonality), why do so many guitar players detune?
Would you play blues in F the same exact way would in Db, just in a different position? I sure wouldn't.
And none of this addressing the fact that yes, of course, different keys have different tonal colors. If they didn't, we wouldn't even be having this discussion. Everything would be written in some variant of C. Zzzzzzzzzz......
Well my intent for this thread was "favorite key that produces sounds/musical colors that you like/identify with."
In other words, if you're into gothy super depressing music, it's PROBABLY not going to be in C-major. Throughout history lots of composers and bands have used certain keys, and we indentify their sound with that key. Example D-minor:
Beethoven Symphony #9
Rachmaninoff Concerto #3
Bach Tocatta and Fugue (.... yada yada)
Would these pieces still have the same "grand" effect, if they were played in say, Bb-minor?
In other words, if you're into gothy super depressing music, it's PROBABLY not going to be in C-major. Throughout history lots of composers and bands have used certain keys, and we indentify their sound with that key. Example D-minor:
Beethoven Symphony #9
Rachmaninoff Concerto #3
Bach Tocatta and Fugue (.... yada yada)
Would these pieces still have the same "grand" effect, if they were played in say, Bb-minor?
I like to play in C major/A minor and other relative major/minors. Add some tension to the mix by playing the scale starting as if the other key were the root, etc(OK, I don't know the modal name for it, I am musically illiterate!) 
I agree with AME on this one, I don't like open strings except for effect, that is one of the beautiful things about playing extended range basses.
The other is it is much easier to transpose(IMHO) to a playable position on a 5 or 6 than it is on a 4.
But even though I am musically illiterate, I have never understood the problem with transposing keys. On bass, it is simple. At least for me.
I agree with AME on this one, I don't like open strings except for effect, that is one of the beautiful things about playing extended range basses.
The other is it is much easier to transpose(IMHO) to a playable position on a 5 or 6 than it is on a 4.
But even though I am musically illiterate, I have never understood the problem with transposing keys. On bass, it is simple. At least for me.
Before getting a 5 string I didn't care for playing in E or F because it meant playing in 1st position a lot, which I don't like all that much. Now, with a 5, I have other options and don't much care what key. Unless I'm singing, then I tend to prefer E.
I play a six string, so slapping in Eb is absolutely no problem (except that I agree with Anthony Jackson, Rocco, and a few others- I hate it!)
And after trying to shag "God Rest Ye Merry *$#%ing Gentlemen" in Dm in practice tonight, I'm about ready to go for a fiver myself. I've tried half a dozen fingerings/positions and they all SUCK. My kingdom for a sixth-fret F...
I think that's right - once you've got a B string, no key is a problem and hence I don't understand the concept of favourites. I've been in Jazz workshops, where we've transposed one song into every key and it still sounds like the same song, no matter how remote the key. 
Bruce is right (again!). A B string does take you away from the "easy key-hard key" concept, to the point where the key becomes a non-issue, which was my point earlier in this thread.
Aside from the mechanics of playing certain keys on various instruments and the relative ease or difficulty of so doing based on the instrument's characteristics,I feel there is a deeper reason why many of the great pieces of music were written in their specific keys.Sound is vibration,and different vibrations and combinations have different effects on the listener,both physical and emotional,and even though the relationship between the tones in a piece will remain constant when correctly transposed from say,Eb to F,the overall impact of the music will be affected.Whether this is a positive or negative is another point but I feel there is a difference beyond just the new pitches.
This comes back again to the discussion in the thread about tuning down a half step. Equal Temperament was introduced so that every key sounds the same and can be played on a keyboard. A piece in Just Temperament would sound different in different keys.
I think that in orchestral pieces (or anything written before Bach's time)that key does give character, because of the range of the different combinations of instruments and the fact that the instruments can play the notes slightly differently. But on a fretted instrument or keyboard, then every key is going to sound the same by definition.
I think that in orchestral pieces (or anything written before Bach's time)that key does give character, because of the range of the different combinations of instruments and the fact that the instruments can play the notes slightly differently. But on a fretted instrument or keyboard, then every key is going to sound the same by definition.
I'd like to hear JimK and Kung Fuqua's opinions on this. IS E-minor the same musically as D-minor? If so, and there were no instrument limitations, then should a person wish to compose a piece, choosing a key would be as simple as rolling a 12-sided dice. Also, when one looks at the bulk of musical pieces out there, how many do you see in Ab major? If all the keys were equal, we would probably see an equal number of works for each key.
All I'm saying is that, when a person sits-down at a piano or stands-up with a bass, there's something that compells him or her to choose, for example, E-minor, over the other keys at his or her disposal. Such a key is their favorite key(s).
All I'm saying is that, when a person sits-down at a piano or stands-up with a bass, there's something that compells him or her to choose, for example, E-minor, over the other keys at his or her disposal. Such a key is their favorite key(s).
Because bass guitar, especially a 5 string is the easiest instrument to transpose on (synths excepted) I think the predominant reason to favor a key from a bass point of view would be in deference to what other instruments are involved. For myself, in a live, by ear, situation, it really is a matter of rolling a twelve-sided die for me... I don't particular care where we play a song. Sure, some songs may be easier to play with open strings but I've had to play "Shining Star" in Eb and F (original key E) because others had learned it in the wrong key. It's about shapes.
BaroqueBass-
...you're forgetting, I'm a tone-deaf weasle.
That said-
Certain instruments do lend themselves to certain keys easier than others(guitar keys=E, A, D, G; horn keys=F, Bb, Eb, Ab; drums= uh,...nevermind).
I'm not sure there *IS* a "difference" bewteen Dmin & Emin. Color & timbre DO COUNT for something, though. I was more discerning about such matters when I actually played guitar(certain keys & voicings, in particular, did sound "better" in certain circumstances. I'm still very "anal" about HOW a chord is voiced!).
A Rock/Funk composer may select Emin 'cause he knows/wants that low thump of the bass. A Rap/Metal band may eventually transpose the same tune down to Dmin 'cause they want the additional thump of a de-tuned bass/synth.
Kinda weird, though, that some of those early James Brown/Bootsy grooves are in Eb? Too, Stevie Wonder wrote a ton of stuff in the "FLAT" keys. Did those keys sound "better" to Stevie or was it just 'cause those are the black keys on a piano & thus easier for him to find/play?
Also, there have been tunes that were written, then recorded in a specific key, & then ALTERED by some studio mumbo-jumbo. "Beat It" by Michael Jackson is an example; the tune is in "Em" yet sounds closer to "Ebm".
The Beboppers borrowed the changes to many a standard...I'd bet Parker, Diz, et al changed the key to fit their needs.
Not sure where I'm goin' with this(rambin' big time, sorry); maybe it's more of an issue with Classical composers. Jazz, Rock, R&B, Pop, etc composers seem to write more on what's relatable & easy to them(ie their instruments, vocals,...).
...you're forgetting, I'm a tone-deaf weasle.
That said-
Certain instruments do lend themselves to certain keys easier than others(guitar keys=E, A, D, G; horn keys=F, Bb, Eb, Ab; drums= uh,...nevermind).
I'm not sure there *IS* a "difference" bewteen Dmin & Emin. Color & timbre DO COUNT for something, though. I was more discerning about such matters when I actually played guitar(certain keys & voicings, in particular, did sound "better" in certain circumstances. I'm still very "anal" about HOW a chord is voiced!).
A Rock/Funk composer may select Emin 'cause he knows/wants that low thump of the bass. A Rap/Metal band may eventually transpose the same tune down to Dmin 'cause they want the additional thump of a de-tuned bass/synth.
Kinda weird, though, that some of those early James Brown/Bootsy grooves are in Eb? Too, Stevie Wonder wrote a ton of stuff in the "FLAT" keys. Did those keys sound "better" to Stevie or was it just 'cause those are the black keys on a piano & thus easier for him to find/play?
Also, there have been tunes that were written, then recorded in a specific key, & then ALTERED by some studio mumbo-jumbo. "Beat It" by Michael Jackson is an example; the tune is in "Em" yet sounds closer to "Ebm".
The Beboppers borrowed the changes to many a standard...I'd bet Parker, Diz, et al changed the key to fit their needs.
Not sure where I'm goin' with this(rambin' big time, sorry); maybe it's more of an issue with Classical composers. Jazz, Rock, R&B, Pop, etc composers seem to write more on what's relatable & easy to them(ie their instruments, vocals,...).
My favorite key is the one that opens the door to my woodworking shop.
Ba doom
I know - what a smartass.
I really don't have a favorite key while playing.
Minor keys for a dark mood, major keys for a happy mood. I do like to play tunes that change betwwen minor and major, or from one key to another, in moderation.
Ba doom
I know - what a smartass.
I really don't have a favorite key while playing.
Minor keys for a dark mood, major keys for a happy mood. I do like to play tunes that change betwwen minor and major, or from one key to another, in moderation.
I agree with what Jim and Brad have said that as you can transpose so easily it may not start like this, but a song transposed into any key is still the same song. A lot of teachers advise singing melodic ideas to yourself and so a tune may be limited by the composer's range, so "sits" in a particular key.But it can then be transposed to suit whoever is subsequently playing it.
Looking back at my own posts on this - what I am saying really is that the decisions come down to a question of the range of instruments or voices, rather than the sound of a particular key. Keys become rarer because they are more difficult for commonly-used instruments to play or because the range of instruments falls better in certain keys.
If this was a trumpet player's forum, then I can understand that some keys would be favourites or nightmares, but as a Bass Player it makes no difference and as I said, I've played songs in all possible keys and there is very little difference in sound, apart from the range of instrument(s) used.
These are the things that most convince me that key doesn't matter. I used to do this regularly with songs I wrote with a particular female singer. Her voice always sounded better if we sped the tape up and effectively transposed everything up a semitone.
Nowadays, when I play along to thing on the radio/TV I quite often find songs where I'm convinced that the same thingh has been done - instruments recorded in one key and then "shifted" to fit the vocalsm which are a seme-tone or less "out".
The European classical composers definitely had a school of thought about the sound of different keys. Ab was definitely the key of love, for example. C major is more than frequently used for kid's songs and conveys guileless innocence. F major is pure and direct. In general, the feeling went, the more flats, the deeper and more grave; the more sharps, the brighter and wilder.
I'm guessing this had to do with the instruments' physical characteristics. Horns are built in flats, and I imagine when they played in sharps they may have gotten a bit wild and out of control pitch-wise.
My personal favorite key for a long time has been G minor. Dunno why, but there's a plaintive honesty to the Am7b5 - D7b9 - Gm progression that doesn't sound as -- well, HONEST in any other key.
I'm guessing this had to do with the instruments' physical characteristics. Horns are built in flats, and I imagine when they played in sharps they may have gotten a bit wild and out of control pitch-wise.
My personal favorite key for a long time has been G minor. Dunno why, but there's a plaintive honesty to the Am7b5 - D7b9 - Gm progression that doesn't sound as -- well, HONEST in any other key.
