Well, like writing songs with a e minor to c chord change and i have good reasons. i learned music on a keyboard so i can always picture the c scale. i just add the f sharp. also, e is the lowest note on guitar and bass so the open chord sounds deeper, fuller and resonant and, when followed by the c chord, sounds dramatic when strummed slowly and heavily. then my other favorite keys are the bach little fugue keys. i love the evil sound of a minor scale with a maj 7th note. and about playing the mouse, how the hell can you record a violin part with a keyboard? the only good thing about using a controller is speed and the ability to improvise melodies. neither of which really fit the idea of composing. afterall, its composing, not playing. i admit, recording music that is played live adds character and life to a composition. and the obvious reasons of piano music.

Interestingly there is a treaty by Christian Schubart's (A History of Key Characteristics in the 18th and Early 19th Centuries) which was written in the early 18th century, therefore is mostly relevant to the classical and romantic periods in western musical history. Each and every key does retain certain etheral qualities, although it is subjective as anything in music often is (i.e. a symphonic poem's original intent isn't often perceived as such by the listening public).

Some of the keys mentioned:

D minor - for death, despair and such (i.e. Mozart's requiem)
E major - pleasurable moments, a boisterous key

and many more are to be found! What an easter egg!

I'll reply for real this time, instead of my comment about composing in K. :)

I think it really boils down to what kind of musician you are. If your technique is better in certain keys than others, then you're going to favor composing-improvising in those keys more than less familiar keys. Also, it is very easy to get caught in "ruts" or grooves in the grass- meaning playing similar chord changes over and over. Try your best to avoid this and keep your music fresh.

The way I do this is by:

* Have decent technique in all keys and modes.

* Being aware of it, so I can hopefully change the behavior while it is happening.

* Constantly playing new pieces (in any genre) so I can draw inspiration from other composers

* Having a strong theory background so I know other "tricks" to pop in.

This isn't bullet proof because I think every composer suffers from this to some extent, but it is good to be aware of the problem.

I work mostly with modal scales. It gives me a bit more freedom to express my musical feeling. Tonality often limited me, but instead of going fully a-tonal (I did that alot though when working as classical composer a few years ago. Worked with full serialism, aleatoric, stochastic music etc).

I really like experimenting with limiting myself in scales and keys used and make a sort of my own semi-tonality.

The chord I prefer to compose with the most is: d-a-c-e-f-g
It has a very rich texture and gives me a lot of oppertunities to fiddle around with. The chord itself is static itself when played in original setting, but due to the minor cluster on the top it is not as static as most of the chords used by modal composers like Part or Kancheli for example. The great thing about this chord is that it can be very harsh sounding and very soft and light when you play it wide.

My 2 cents :) Nice topic idea!

As an electric guitar rythym player (strictly amateur) I've been accused of "being in love with F# minor." :) Guilty as charged.

stenny wrote:

Quote:
There are theories (never actually made the time to go after them) that say certain keys emit certain feelings.

Well, anyone who's studied the works of N. Tufnel knows that D-minor is the saddest key.

Quote: Original post by smcameron
As an electric guitar rythym player (strictly amateur) I've been accused of "being in love with F# minor." :) Guilty as charged.

I like F# minor on the keyboard too, but that's partly because it seems exotic and partly because it chains nicely with all the other something-sharp minors. [smile]

Quote:
There are theories (never actually made the time to go after them) that say certain keys emit certain feelings.

It's an interesting idea, but is it due to the actual pitches of the notes, or do composers tend towards different chord combinations or melodies/harmonies with different keys?

I enjoy the key of Dm and Cm both I learned first on piano so I kind of became comfortable writing in them.

One curious little factoid -- over time, orchestras have been creeping slightly sharper and sharper in their tuning:

http://query.nytimes.com/gst/fullpage.html?res=950DE7DD1630F930A2575BC0A96F948260

Some people feel a sharper tuning makes orchestral tone more brilliant and exciting.

[Edited by - venzon on September 9, 2008 6:46:04 PM]

I tend to stay away from keys with more than 3 sharps or flats (for reading/writing convenience). I do find myself in E min. and G min. (or dorian) most often.

I also find myself gravitating toward modes often - dorian especially,and sometimes mixolodian.

Occasionally I'll use an octatonic or diminished scaled too (alternating whole step & half step - for example: E-F#-G-A-Bb-C-Db-D# [you end up with 8 tones rather than 7 in an octave]). Here's a piece that uses octatonic in the intro:

Asymmetric Onslaught

[Edited by - Dane DiAnda on September 10, 2008 5:44:00 PM]

Quote: Original post by venzon
One curious little factoid -- over time, orchestras have been creeping slightly sharper and sharper in their tuning:

http://query.nytimes.com/gst/fullpage.html?res=950DE7DD1630F930A2575BC0A96F948260

I must admit, I think the singer complaining about the instruments being tuned too high is just looking for an excuse. The difference in tunings they're talking about is about a 1/30 ratio, eg. not even half a semitone. It's not like they're transposed up a 1/3 of an octave or anything.