Re: [Harp-L] (no subject)

[Joe Leone <3n037@xxxxxxxxxxx>]

On May 10, 2011, at 1:28 PM, sheltraw@xxxxxxxxxxxx wrote:

> Hi SmoeJoe

Looks like Daniel.......... (Elton John)
> 
> So it appears that you are saying that Impressions is in Dm. What is your
> definition of "key" that would place this tune in Dm even though there are
> very long sections using an Ebm7 chord?

The tune starts out in Dm with 16 bars under the Dm7 chord. Then there is an interlude with 8 bars under the Ebm7 chord. Then the last 8 bars are under the Dm7 chord. 
Ergo, 24 of the 32 bars are under the Dm7 chord. That makes it dominant. Now even when the chord changes to Ebm7, the notes OF the tune stay in constant relationship.  The key has not changed. AND, the last chord in a tune generally denotes what key the tune is in. Another clue is that while the key signature would appear to be for F, and there is a flat on the B note line, there are only 3 Bs IN the tune and NONE of them is flatted. (They all carry the 'natural' flag). Ergo: the key cannot be F.  

> Do you agree with me in that key signature and key should not be equated?

Yes, with the following caveat. The key 'signature' is what's written on paper. The key (itself) is what you need to PLAY the tune. You can look at the signature all day and it won't help you to do anything more than understand WHERE to begin. It isn't until you actually PLAY that the KEY is the more important aspect. The key signature shows you where to start. After that, when the instrument is expected to actually make sound, you must have the KEY and follow the NOTES. (At least for the head). Flourishes, embellishments, etc. can be added later. 

I can cite countless examples where a tune begins in one key, changes to another, and comes back to the first key. This isn't always shown on paper because the notes and chords are there and as long as you NOW follow the notes and chord structure, you should be able to follow the tune. Sometimes the tune DOESN't come back to the original key. Sometimes the tune modulates UP to a higher key. It is pretty common in tunes that have many soloists or sections, to modulate several times. Sometimes as many as 6-7 times. Doesn't matter. Once you have a key signature to tell you WHERE to start (visually), and then start IN the key (physically), all you then do is to follow the notes. 

Theoretically, you could pick up a piece of music with NO key signature on it and as long as you follow the notes, you're in. You WILL be in the key that was intended (by the person who forgot to write it down, lol). As for chords, once you are familiar with the chords in a tune, you can 'roll' them. That is to say, you can make MORE chords by using the notes that are in the notated chord. Chords and triads contain more than 1 note, ANY of them can be used as the basis for another chord bearing the name of the note you picked out. As long as you come BACK to the original chord or chords that MAKE the tune. Note: In modern jazz, it is common to make a THIRD run of chords off of the SECOND run of turned chords. This is why it sounds 'reachy' to most whom are not attuned to that sort of thing. (It's an acquired taste lol).

Sorry for the delay. I had to go to the airport.    smo-joe

 
> 
> 
> Cheers,
> Daniel
>