what key do most people work in for house, deep house ?????

  • Thread starter Thread starter M_B
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I know my notes, scales, and most chord progressions, it was only general question as to what people tend to use and what they found the personally like. no need for the sarcy comments thanks (y)
 
M_B said:
I know my notes, scales, and most chord progressions, it was only general question as to what people tend to use and what they found the personally like. no need for the sarcy comments thanks (y)
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You're welcome.
 
I'd go one step further and see if you can do some analysis on the tracks that you consider to be the classics - that would be a better indicator of what is truly used

I know from experience in the 80's that a lot of rock/pop songs were written in D, A and E for two reasons - open strings and room resonances reinforcing those keys - small town venues are built to about the same size and seem to be based on wavelengths of A and E, making it easier for those songs to ring out on their tonic and dominant (I and V) chords
 
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I played with one bandleader who used to call tunes in "The People's Key." (Which was usually G, but sometimes we had to guess because it might be C, "The Other People's Key"...)

I do (did) a lot of stuff in G, due to my voice (which is changing as I get older, so keys will be reassessed for the "maturing" voice).

GJ
 
funnily enough in Australia G tends to be avoided as a live key as it is very close to mains hum and its harmonics (50Hz) which means any efforts to treat a mains hum problem tends to make it sound lifeless, in America I would assume that B has similar problems being close to 60Hz
 
bandcoach said:
I'd go one step further and see if you can do some analysis on the tracks that you consider to be the classics - that would be a better indcator of waht is truly used

I know from experience in the 80's that a lot of rock/pop songs were written in D, A and E for two reasons - open strings and room resonances reinforcing those keys - small town venues are built to about the same size and seem to be based on wavelengths of A and E, making it easier for those songs to ring out on their tonic and dominant (I and V) chords
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thanks you for a response without patronising me, much appreciated
 
Does anyone tune-up or down to avoid that scenario, BC? I know some bands here that perform/tour regularly tune down just to save on the vocals...

GJ
 
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For particularly bass intensive genres some people say you should stick to keys between kinda E (D# at a push) and A in order to get the deepest bass notes that aren't too low to be produced by speaker systems.
 
Not sure what the live scene here does these days, but I do think that apart from saving the vocals, the whole thrust of down-tuning was about avoiding nasty room resonances whether in rehearsal rooms or venues
 
haha I think you can produce a track in mostly any key tbh. Thats kinda like asking beethoven or mozart what key do you mostly make your sonatas out of xD and they just did all. I think you should just do what makes you feel best and what your ears tell you. And also what key you are comfortable with in the end.
 
OhNaomee said:
haha I think you can produce a track in mostly any key tbh. Thats kinda like asking beethoven or mozart what key do you mostly make your sonatas out of xD and they just did all. I think you should just do what makes you feel best and what your ears tell you. And also what key you are comfortable with in the end.
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missed this somehow

in Mozart and Beethoven's day they were still focused on just intonation and tuning so the question of key was an important one for them as different keys did indeed have different frequencies associated with each pitch

today you can ignore the issues of pitch=frequency as in 12 tone equal temperament every note always has the same frequency

so, yes, your statement about being able to do it in all keys is correct, however, there are good keys to use based on sound system/room resonances that improve your bottom end for little to no increase of eq at those freqs

low end increase based on positioning of LF cabinets

wall loading - +6dB
corner loading (wall/wall) +12dB (i.e. cabinet is above floor level and below ceiling level)
floor/wall/wall corner loading - +18dB

i.e. either a 2 fold/4-fold/8-fold increase in spl for the same electrical input to the cabinets based on where the cabinets are positioned within the room
 
Depends on the grove. Usually I write the song and my vocalist arranges it. If I'm sampling then F or F#.
 
Just an opinion but this helps make any random note into in key chords.
F03_25_CHORDS-1-90P-110.gif


Then there is also this, that on top of that picture already begin there gives more ideas off the bat. https://autochords.com/
Although do not ask me why the key of C has DFA but the key of D has DF#A, don't know the specifics just know that in each key the chords differ.
Ah wait wait also each scale is the "key" all the notes in a scale is in that key.

Examples like be this, D/E/F#/G/A/B/D, in some ways to learn it the last D is usually also called 1 and in some other countries it might be called the 8th note in a scale.
Some countries I think H replaces G and G replace H while the rest stays relatively similar throughout.
 
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the cipher formula is not a new idea, Rameau introduced the same idea in the 1720's, including the presentation that Mr Blumberg is claiming copyright on

It is however a useful way to ensure that you do use the right notes to make specific chords

also you missed C# in D/E/F#/G/A/B/D making the second D seem to be 7

as for H replacing notes that is in Germanic countries and H replaces B natural where B has the sense of Bb - hence Bach being able to spell his name out in several of his work BACH
 
Did some more google search and think I figured out why some keys have different chords, cuz that's how that, them cipher/standard formulas seem to go.

Seems like DF#A is the same amount of space apart [0-4-7] as DFA is in C's key in comparison to the D key so nvm that

To the original poster dude, finding chords for a specific genre imo it's not gonna be as helpful as finding chords period if you catch me. I don't think there'll be house chords called that but there is a wide range of chords that sound "correct" out the gate if you use formulas and/or chord naming stuff.
 
KonKossKang said:
Seems like DF#A is the same amount of space apart [0-4-7] as DFA is in C's key in comparison to the D key so nvm that
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D-F-A = 0-3-7 = 1-b3-5 = D minor
D-F#-A = 0-4-7 = 1-3-5 = D major

so no they do not have the same amount of space apart

however,

C-E-G = 0-4-7 = 1-3-5 = c Major
D-F#-A = 0-4-7 = 1-3-5 = D major

so these two are similar in that they are both major chords
 
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