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366:; and its corresponding tonic chord is G—B—D. Most often at the beginning and end of traditional pieces during the common practice period, the tonic, sometimes with its corresponding tonic chord, begins and ends a piece in a designated key. A key may be major or minor. Music can be described as being in the
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In addition, since many composers often utilized the piano while composing, the key chosen can possibly have an effect over the composing. This is because the physical fingering is different for each key, which may lend itself to choosing to play and thus eventually write certain notes or chord
162:, which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same key, their corresponding chords, and pitches and chords outside the key. Notes and chords other than the tonic in a piece create varying degrees of tension,
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of almost any instrument is not exactly the same for all notes played on that instrument. For this reason a piece that might be in the key of C might sound or "feel" somewhat different (besides being in a different pitch) to a listener if it is transposed to the key of
500:". "This phenomenon occurs when a feature that allows multiple interpretations of key (usually a diatonic set as pitch source) is accompanied by other, more precise evidence in support of each possible interpretation (such as the use of one note as the
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As noted earlier, certain instruments are designed for a certain key, as playing in that key can be physically easier or harder. Thus the choice of key can be an important one when composing for an orchestra, as one must take these elements into
325:
197:
Methods that establish the key for a particular piece can be complicated to explain and vary over music history. However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding
659:
clarinet. The piece must then be played on a more exotic instrument, or transposed by hand (or at sight) for the slightly larger A clarinet. There are clarinets with an extended range, with a longer bore and additional
326:
585:
without using valves, fingerholes, or slides to alter the length of the vibrating column of air. An instrument built in a certain key often, but not always, uses music written in the same key (see
784:, hence different keys have distinct characters. Such "key coloration" was an essential part of much eighteenth- and nineteenth-century music and was described in treatises of the period.
348:
that represents the final point of rest for a piece, or the focal point of a section. Though the key of a piece may be named in the title (e.g., Symphony in C major), or inferred from the
323:
360:, and/or melodic motion (such as movement from the leading-tone to the tonic). For example, the key of G includes the following pitches: G, A, B, C, D, E, and F
135:
Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale.
244:
Pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic. A piece using some other type of
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ends with a cadence on the tonic, a second phrase ends with a half cadence, then a final, longer, phrase ends with an authentic cadence on the tonic.
324:
51:
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to another key, or a series of keys, then back to the original key. In the
Baroque it was common to repeat an entire phrase of music, called a
173:
mode, though musicians assume major when this is not specified; for example "This piece is in C" implies that the key of the piece is C major.
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progressions compared to others, or this may be done on purpose to make the fingering more efficient if the final piece is intended for piano.
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of different keys in a single non-equal tempered tuning, and the overall sound and "feel" of the key created by the tuning of its intervals.
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of the initiating harmony and persistent use of another note as pitch of melodic resolution and root of the final harmony of each phrase)."
457:
compositions, and most of the
Western popular music of the 20th century, pieces always begin and end in the same key, even if (as in some
1057:
255:
An instrument "in a key", is an unrelated usage that means the pitches considered "natural" for that instrument. For example, modern
404:
Cadences are particularly important in the establishment of key. Even cadences that do not include the tonic note or triad, such as
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play in a certain key, or have their music written in a certain key. Instruments that do not play in the key of C are known as
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to a different key; if the modulation is brief, it may not involve a change of key signature, being indicated instead with
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In the life of the professional clarinetist, for example, it is common to carry two instruments tuned a semitone apart (B
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791:, the key on the lowest note of the fifth sounds dramatically different from other keys (and is often avoided). In
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is not always a reliable guide to the key of a written piece. It does not discriminate between a major key and its
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is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece.
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Perfect authentic cadence (V-I with roots in the bass and tonic in the highest voice of the final chord):
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The table indicates the number of sharps or flats in each scale. Minor scales are written in lower case.
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lacks key coloration because all keys have the same pattern of intonation, differing only in pitch.
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In
Western musical composition, the key of a piece has important ramifications for its composition:
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of popular songs, however, modulate sometime during the song (often in a repeat of the final
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major would be an enormous effort. Even so, it is not unheard of for a piece published in B
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some pieces change back and forth, or modulate, between two keys. Examples of this include
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are usually in one key. Longer pieces in the classical repertoire may have sections in
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on C (C, E+, G: 4, 5, 6), the major triad on C is just while the major triad on E
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Short pieces may stay in a single key throughout. A typical pattern for a simple
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Similarly, some instruments are "built" in a certain key. For example, a
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major, though the music is written in D major with implied accidentals.
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major scale when played on the B-flat clarinet—that is, notes sound a
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to include notes a semitone (or more) below the range of the common B
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instrument is difficult, and to rewrite all the orchestral parts to B
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for an exception). However, some instruments, such as the diatonic
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679:, chords played in different keys are qualitatively different.
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is an ordered set of notes typically used in a key, while the
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rather than a key. Languages other than
English may use other
865:
Berlin, Boris; Sclater, Molly; and
Sinclair, Kathryn (2006).
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music) the key is deliberately left ambiguous at first. Some
1031:
Historical Tuning – Restoring Key
Coloration to Period Music
1637:
971:
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597:, are in fact designed to play in only one key at a time:
446:. Another key may be treated as a temporary tonic, called
469:) and thus end in a different key. This is an example of
442:, the second key was typically marked with a contrasting
96:"Major key" redirects here. For the DJ Khaled album, see
374:, etc., and is thus usually thought of as in a specific
185:. Key changes within a section or movement are known as
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More elaborate pieces may establish the main key, then
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is the "center of gravity" established by particular
438:, in each key once it was established. In Classical
1015:
Christian
Schubart's "Affective Key Characteristic"
42:
may be too technical for most readers to understand
912:(Cambridge: Harvard University Press, 1969), 450.
1799:
923:What to Listen for in Rock: A Stylistic Analysis
530:. This means that a scale written in C major in
352:, the establishment of key is brought about via
925:(New Haven: Yale University Press, 2002), 48.
524:, for example, is said to play in the key of B
356:, a sequence of chords leading to one or more
292:is the relationship between keys, measured by
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627:and A) to cope with the needs of composers:
722:. Unsourced material may be challenged and
548:, normally in the key of F, sounds notes a
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742:Learn how and when to remove this message
70:Learn how and when to remove this message
54:, without removing the technical details.
837:(23.46 cents) larger sharp compared to F
311:
210:, orient the listener around the tonic.
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111:of a piece is the group of pitches, or
82:Tonic note and chord of a musical piece
14:
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166:when the tonic note or chord returns.
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601:are difficult or impossible to play.
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52:make it understandable to non-experts
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604:The highland bagpipes are built in B
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776:notes ("naturals") producing purer
337:note and/or chord: the note and/or
85:For the part of an instrument, see
24:
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544:lower than written. Likewise, the
385:People sometimes confuse key with
25:
1829:
1008:
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1004:. UMI Research Press, Ann Arbor.
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635:is in A major. To play it on a B
321:
31:
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1020:Characteristics of Musical Keys
787:For example, in tunings with a
333:The key usually identifies the
275:. (Such instruments are called
89:. For the YouTube product, see
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947:The Technique of Orchestration
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889:"Keys in Music | Harmony"
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807:) is noticeably out of tune (E
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206:of these chords, particularly
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229:. Occasionally, a piece in a
177:and classical music from the
1667:
869:, p.21. Gordon V. Thompson.
575:, and can play notes in the
269:whose fundamental pitch is B
139:A particular key features a
115:, that forms the basis of a
7:
910:Harvard Dictionary of Music
833:+++ (521.44 cents) being a
768:usually have the narrowest
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259:are usually in the key of B
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1587:Names and translations
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969:Innig, Renate (1970).
534:actually sounds as a B
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1767:Schenkerian analysis
1762:Progressive tonality
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716:improve this section
552:lower than written.
508:Instruments in a key
296:and nearness on the
984:Basic Atonal Theory
943:Kent Wheeler Kennan
514:musical instruments
302:closely related key
202:, and conventional
117:musical composition
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547:
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486:Fleetwood Mac
483:
482:popular music
479:
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175:Popular songs
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38:
29:
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19:
1808:Musical keys
1782:Tonicization
1757:Polytonality
1752:Parallel key
1721:
1712:Figured bass
1504:
1073:
1001:
983:
973:Hugo Riemann
970:
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846:Music using
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813:+++, A+, C:
786:
772:between the
763:
754:
753:
738:
729:
714:Please help
702:
612:
603:
554:
511:
475:
463:arrangements
459:Romantic-era
452:
448:tonicization
429:
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332:
289:
287:
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250:tonal center
243:
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204:progressions
196:
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140:
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108:
105:music theory
102:
66:
57:
41:
1772:Sonata form
1737:Neotonality
1617:Transposing
1596:Theoretical
1505:Musical key
599:accidentals
567:fundamental
532:sheet music
440:sonata form
368:Dorian mode
294:common tone
278:transposing
227:accidentals
160:tonic chord
119:in Western
60:August 2024
18:Musical key
1802:Categories
1732:Modulation
1624:Instrument
1552:Modulation
980:Rahn, John
906:Willi Apel
854:References
789:wolf fifth
782:intonation
732:April 2019
559:built in B
542:whole tone
471:modulation
436:ritornello
235:Mixolydian
187:modulation
1580:Signature
1538:Homotonal
1026:Key Color
893:StudyBass
759:intervals
703:does not
591:harmonica
569:note of B
129:pop music
125:art music
1818:Tonality
1742:Ostinato
1669:Tonality
1603:Tonality
1573:Relative
1566:Parallel
1450:♯
1440:♯
1430:♭
1420:♭
1403:♯
1393:♯
1383:♭
1373:♭
1358:♯
1348:♯
1338:♭
1328:♭
1313:♯
1298:♭
1288:♭
1273:♯
1253:♭
1238:♯
1218:♭
1188:♭
1067:Diatonic
1000:(1983).
982:(1980).
840:♮
830:♯
810:♯
804:♮
798:♯
774:diatonic
656:♭
650:♭
644:♭
638:♭
624:♭
607:♭
593:and the
587:trombone
582:♭
572:♭
565:plays a
562:♭
537:♭
527:♭
522:clarinet
512:Certain
432:modulate
372:Phrygian
363:♯
358:cadences
272:♭
262:♭
257:trumpets
233:such as
223:modulate
219:relative
208:cadences
193:Overview
164:resolved
1680:Cadence
822:⁄
724:removed
709:sources
246:harmony
46:Please
1130:minor
1127:Major
1111:Sharps
1070:scales
990:
953:
929:
873:
801:+++ (F
778:thirds
770:fifths
665:timbre
629:Mozart
492:" and
490:Dreams
467:chorus
425:phrase
300:. See
239:Dorian
151:chords
127:, and
107:, the
1610:Tonic
1123:minor
1118:Major
1106:Flats
660:keys.
444:theme
391:scale
387:scale
370:, or
346:triad
343:minor
339:major
335:tonic
320:in C
200:scale
156:tonic
142:tonic
113:scale
1074:keys
1072:and
988:ISBN
951:ISBN
927:ISBN
871:ISBN
707:any
705:cite
595:harp
546:horn
502:root
488:'s "
480:and
478:rock
421:song
408:and
389:. A
376:mode
231:mode
213:The
145:note
1722:Key
1101:No.
718:by
496:' "
476:In
453:In
395:key
341:or
285:.)
237:or
158:or
109:key
103:In
50:to
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1390:C
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1370:C
1355:d
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1335:e
1325:G
1310:g
1305:B
1295:b
1285:D
1270:c
1265:E
1260:f
1250:A
1235:f
1230:A
1225:c
1215:E
1205:b
1200:D
1195:g
1185:B
1175:e
1170:G
1165:d
1160:F
1148:C
1144:a
1139:C
1059:e
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957:.
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820:1
817:+
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745:)
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