What key should I write a track in?

If there is any merit to different keys sounding different, it's subtle enough for most everyone to miss. And even if this weren't the case, supposedly different keys have different emotions. Which emotion would you want?


If someone is singing, pick the key that matches the singer's vocal range best. Simple as that.

If the song is instrumental, decide which register your instruments sound best in, and which keys are easy to play in. If you don't have a preference, pick a key at random.
 
Yeah, I feel that the whole "emotional keys" thing is a result of classic circular reasoning that has for some reason gathered some traction over time..."I made an emotional song in the key of A; thus A must be an emotional key". Also probably comes down to some standard "emotional" chord progressions that are simply easier to play from certain keys.
 
Emotion isn't something that is equal to everyone listening (and making) the song. You can make emotional melodies out of any key, any scale. Just go with what it sounds right to you.
 
Tbh the keys are all pretty much the same.

They used to be different because singers/instruments had limited range, but with electronic music, doesn't really matter.
I guess basslines have a limited range because the can't go too low before they disappear on your speakers but that's about it.
 
scrapheaper said:
Tbh the keys are all pretty much the same.

They used to be different because singers/instruments had limited range, but with electronic music, doesn't really matter.
I guess basslines have a limited range because the can't go too low before they disappear on your speakers but that's about it.
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I understand that music theory is only a guide, not a rule. But you can't simply throw all that away like that. A single note off a scale you started on will sound weird. Two melodic lines played together, following different scales will sound weird. Of course, you can take advantage of this in genres like dark ambient or any other genre that the objective is to cause the sense of unease to the listener, but with most electronic music that rely on melodic passages, you need to maintain a melodic line that will sound good to the listener's ears.
 
Ddream said:
I understand that music theory is only a guide, not a rule. But you can't simply throw all that away like that. A single note off a scale you started on will sound weird. Two melodic lines played together, following different scales will sound weird. Of course, you can take advantage of this in genres like dark ambient or any other genre that the objective is to cause the sense of unease to the listener, but with most electronic music that rely on melodic passages, you need to maintain a melodic line that will sound good to the listener's ears.
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Eh? I was pretty much paraphrasing exactly what you said. 'You can make emotional melodies out of any key' 'The keys are pretty much all the same'.
 
While keys might share some of the same notes, I really have to disagree that they are pretty much all the same.
They are different or else there would only be one key. They sound different, feel different, are mathematically different, have different relationship to other keys, frequencies etc. If you always play in Major keys, then I could see how one might perceive the keys as "all the same".

Check out the minors, and you will immediately identify how different they can be. Especially when you practice the minor harmonic and melodic scales.

All keys are emotional. It is up to the writer or musician to extract the feelings.
Major scales tend to be associated with a bright or happy tone, minors tend to be related to a darker or sadder tone.
Then there is all of the others that also deserve some attention. Chords, progressions and other factors also come into play.

What key should you write a track in?
try B flat minor and see what you come up with...if it doesnt work, you can always transpose and adjust?

Reading into the history is fun and interesting, if you are into that sort of thing, it's def worth it.
 
As I said on another thread, I think of keys like flavors. There all good in their own right, none be better than another. You can make whatever with whatever key, though I will say certain keys, or rather just the chords within them are more suited to certain vibes. At the end of the day just go with what works. Music is for your ears, if it sounds good to the ear the average listener probably doesnt care if its out of key long as it doesnt sound bad to them. Music is such a touchy/feely thing lol.
 
I'm not entirely 100% on keys vs modes.

In terms of terminology, do different modes of a scale of a key count as all the same key or do they count as different keys?

Obviously C major and D dorian are all the same notes but a 'dorian flavoured' chord sequence would have different emotion to a 'ionian/major flavoured' key sequence. So do they count as different keys or not?

Not that it really matters: it's just terminology.
 
Hello Arcane7,

well, one thing is clear: every key has got an own characteristic!
The German musician 'Christian Schubart' wrote about it, there is a translation of by Rita Steblin, called 'A History of Key Characteristics'.
Here is one link: biteyourownelbow.com/keychar.htm

Charpentier's 'Regles de Composition' describes the keys a little shorter.

So you see, it is a very personal matter, and has to do a lot with emotions.
Eb - minor for example is said to be very 'hard', full of desperation and containing the deepest melancholy.
Whearas a-minor for example is said to be a soft key.

So the best thing is you try out some keys and find out which one sounds very emotional in your opinion! :-)

Kind regards,
X3nion
 
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