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Can anyone hear tell me what key a song is if i play it?
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SOUND BOMBING
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#121
30th January 2013
Old 30th January 2013
  #121
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Quote:
Originally Posted by skinnypete View Post
Debarge- "It's Got to Be Real" - is in F minor. That is clearly what the melody is doing. You can make an argument for Ab major, but the female hook is pretty clearly Ab-G-F, which pretty much implies F minor.

"Can't Get Enough" is clearly in Aminor.

The Teedra Moses song is in E minor.

The Chuckii Booker song is in B minor.

Why are you guys arguing again? I didn't listen to every song all the way through. Are there modulations or something?



Edit: After I posted this I read through the thread. OP, I agree with Mr. Miller, "It's Got to Be Real" is not a super easy song to analyze. Still, I kinda hope he didn't tell you it was in "G#"!! Lol the guy was Miles's bandleader, for god's sake..
no he told me it was in Ab
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#122
30th January 2013
Old 30th January 2013
  #122
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Originally Posted by jrhager84 View Post
Wrong song, bro. He's knackered the order about fifteen times since first posting.
<DELETED BY MODERATOR> got to be real is the main song this thread is about and the song that has caused arguments on multiple sites
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#123
30th January 2013
Old 30th January 2013
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Quote:
Originally Posted by SOUND BOMBING View Post
no he told me it was in Ab
Um... G# IS Ab....

Quote:
Originally Posted by SOUND BOMBING View Post
stop being a idiot.
In regards to the first quote, maybe you should take your own advice?
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#124
30th January 2013
Old 30th January 2013
  #124
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Sorry I should explain myself.

You wouldn't call that key "G#", because that key would have 8 sharps. It is the key of "Ab" with 4 flats. It just makes it too crazy to think about with all those sharps.
#125
4th February 2013
Old 4th February 2013
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Quote:
Originally Posted by SOUND BOMBING View Post
stop being a moron and give up the awful attempts of trying to be funny.obviously they are the same key but no one says G sharp like multiple people have said. its obvious you have a crush on me dude but i dont fly that way. no thanks
I have a crush on you for asking you to heed our own advice? Interesting. I can see from your belligerence and homophobia, that you're not somebody I'd like to associate with. Have a good one!
#126
18th February 2013
Old 18th February 2013
  #126
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It should at least be somewhat obvious that you may not always be in just one key at any one time. Of course the simpler the musical material the more likely it is to remain in just in one key. For instance, classic songs like Michael Row Your Boat Ashore will be in one major key. Then you have songs like All The Things You are which goes through quite a few keys and at given time might be in major or minor and on dominant chords may be said to be in four keys at one time.

For instance, if you have a G7th chord, it is the "dominant" chord in C because the tritone of B/F quite naturally wants to resolve to C and E and if you add the root of G, it will naturally and powerfully move along the cycle of fifths to C which makes the G7th the dominant, as we musicians say, chord in C. The chord that pulls to C most dominantly I suppose.

Now if you take that G7th which is made of G,B,D,F and flat the fifth note you get G,B,Db, F. Now look at the dominant chord in the key of Gb. it is Db,F,Ab,B. Flat the fifth on that and you have Db,F,G,B. Look familiar. It should, its the same notes of the G7th b5. Thus that same group of notes resolves just as strongly to C major as it does Gb Major. You can then be said to be in two keys at one time, C and Gb.

You will find that the same thing works with Bb and E and that they relate to the keys of Eb and A and that those keys relate to the C and Gb keys of the above example by being all a minor third apart. This is an important concept in chromaticism and can be very helpful in understanding more complex harmonies in diatonic music.
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#127
20th February 2013
Old 20th February 2013
  #127
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If anyone still cares...

Got to be Real -
Ab, no question. I think the confusion is that it's a funk-hiphop tune (so the home chord is allowed to be a dominant) based on a repeating groove of:
Ab13 B13 Bb13 A13
In the release the harmony of the groove loosens, but strongly implies Bbm11 Eb7alt Ab13.
The fact that the groove moves to the bIII chord doesn't really mean that it's *in* Abm, it's just that the groove moves in that parallel fashion. It's bluesy and dancey. It's a groove.

So the home chord's a dominant? Yeah. Traditional harmonic analysis doesn't really sit down and drink milk with blues and funk. Just ask a guitarist who thinks everything's a 9 chord...

As to the Ab/G# debate - well, there's technically correct and there's also real life. Did Night'n'Day in D# the other day...

PS After my recent altercation with a certain online "pay us $$s and you can play jazz in 2 weeks!" charlatan, if anyone ever describes a chord as having a b10th, I'm going to have to sharpen a 9th and ram it where there ain't no sunshine when she's gone.
#128
20th February 2013
Old 20th February 2013
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Quote:
Originally Posted by Impromptu View Post
If anyone still cares...

Got to be Real -
Ab, no question. I think the confusion is that it's a funk-hiphop tune (so the home chord is allowed to be a dominant) based on a repeating groove of:
Ab13 B13 Bb13 A13
In the release the harmony of the groove loosens, but strongly implies Bbm11 Eb7alt Ab13.
The fact that the groove moves to the bIII chord doesn't really mean that it's *in* Abm, it's just that the groove moves in that parallel fashion. It's bluesy and dancey. It's a groove.

So the home chord's a dominant? Yeah. Traditional harmonic analysis doesn't really sit down and drink milk with blues and funk. Just ask a guitarist who thinks everything's a 9 chord...

As to the Ab/G# debate - well, there's technically correct and there's also real life. Did Night'n'Day in D# the other day...
Where is the repeating
Ab13 B13 Bb13 A13
that you are speaking of?

Are you referring to the chorus?

The chords are:

Db maj // G7 // C sus 7 // Ab sus 13

The verse goes:

Bb min 7 // G7 // C min 7 // F7

The Ab sus 13 is either a V of IV, or a V of VI, depending on whether the analysis is in Ab major or f minor.

In neither case is the Ab sus 13 a "I" chord.

And no. You didn't do Night and Day in D#. The key is called Eb.

You don't understand harmony. Please stop now.

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#129
20th February 2013
Old 20th February 2013
  #129
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..
#130
20th February 2013
Old 20th February 2013
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The D# remark was something called humour.

Maybe I can't hear the bassline properly on my laptop, so I'm hearing a leading line within the harmony. Not sure I agree with you, mind. I certainly hear an A natural where you have an Absus13.
I certainly wouldn't be so rude as to suggest that you don't know what you're talking about. So I'll give it another listen.
#131
20th February 2013
Old 20th February 2013
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Quote:
Originally Posted by Impromptu View Post
I certainly hear an A natural where you have an Absus13.
No, you don't. And I had no problem hearing the bass notes through my laptop speakers.

It's not a matter of being rude. Try showing some humility. The least you should do is to say, "I think it might be in the key of Ab".

Your analysis is totally wrong. It's a perfect example of why people should NOT learn harmony on web forums.

Nothing personal, and my statements are meant in good faith.

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#132
20th February 2013
Old 20th February 2013
  #132
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#133
20th February 2013
Old 20th February 2013
  #133
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someone stick the fücking thing in Capo and be done with it.

I'll do it later if no-one else does.
#134
20th February 2013
Old 20th February 2013
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Quote:
Originally Posted by pinkheadedbug View Post
someone stick the fücking thing in Capo and be done with it.

I'll do it later if no-one else does.
That's interesting, I wasn't aware of that technology.

No point, though. Real musicians know how to transcribe.

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#135
20th February 2013
Old 20th February 2013
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@pete
Point taken, and not personally.
I fired off my mouth and got rightly corrected. No hard feelings, I hope.
#136
20th February 2013
Old 20th February 2013
  #136
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Quote:
Originally Posted by Impromptu View Post
@pete
Point taken, and not personally.
I fired off my mouth and got rightly corrected. No hard feelings, I hope.
Not in the slightest, man.

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#137
20th February 2013
Old 20th February 2013
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I know how to transcribe. I was hoping this would stop blowhards arguing on the internet.
#138
20th February 2013
Old 20th February 2013
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Quote:
Originally Posted by pinkheadedbug View Post
I know how to transcribe. I was hoping this would stop blowhards arguing on the internet.
I would trust my ear over software.

The arguement was solved. Looks like you're trying to start another one, though.

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#139
21st February 2013
Old 21st February 2013
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No, it was a joke, my friend.
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#140
16th March 2014
Old 16th March 2014
  #140
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#141
17th March 2014
Old 17th March 2014
  #141
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Quote:
Originally Posted by Impromptu View Post
If anyone still cares...

Got to be Real -
Ab, no question. I think the confusion is that it's a funk-hiphop tune (so the home chord is allowed to be a dominant) based on a repeating groove of:
Ab13 B13 Bb13 A13
In the release the harmony of the groove loosens, but strongly implies Bbm11 Eb7alt Ab13.
The fact that the groove moves to the bIII chord doesn't really mean that it's *in* Abm, it's just that the groove moves in that parallel fashion. It's bluesy and dancey. It's a groove.

So the home chord's a dominant? Yeah. Traditional harmonic analysis doesn't really sit down and drink milk with blues and funk. Just ask a guitarist who thinks everything's a 9 chord...

As to the Ab/G# debate - well, there's technically correct and there's also real life. Did Night'n'Day in D# the other day...

PS After my recent altercation with a certain online "pay us $$s and you can play jazz in 2 weeks!" charlatan, if anyone ever describes a chord as having a b10th, I'm going to have to sharpen a 9th and ram it where there ain't no sunshine when she's gone.
Beautiful post
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#142
17th March 2014
Old 17th March 2014
  #142
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Quote:
Originally Posted by skinnypete View Post
Debarge- "It's Got to Be Real" - is in F minor. That is clearly what the melody is doing. You can make an argument for Ab major, but the female hook is pretty clearly Ab-G-F, which pretty much implies F minor.

"Can't Get Enough" is clearly in Aminor.

The Teedra Moses song is in E minor.

The Chuckii Booker song is in B minor.

Why are you guys arguing again? I didn't listen to every song all the way through. Are there modulations or something?



Edit: After I posted this I read through the thread. OP, I agree with Mr. Miller, "It's Got to Be Real" is not a super easy song to analyze. Still, I kinda hope he didn't tell you it was in "G#"!! Lol the guy was Miles's bandleader, for god's sake..
Beautiful post
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