#1
i was thinking about this before: is it possible to write a song that is in neither a major or minor key? take for example the E minor scale (E F# G A B C D) and the E major scale (E F# G# A B C# D#). if a song was written using only the common notes between those two scales (E F# A B), would it even be in a major or minor key? I just had a thought that it would probably end up being major, but i am unsure.
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#3
well, if you stayed on only the root and fifth, it would stay perfect
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#5
kirby shedding some light on your ass! but seriously. wouldn't it be one of those situations where if you take those notes, it just ends up relating to a different key altogether, like kirby said, making it a major or minor of a different key?
#6
12 tone row. Atonal music. Arnold Schoenberg.

Google these terms.
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#7
well actually those terms don't apply to what i was talking about. i was talking about using a set of 4 notes that are common between both the major and minor scales of a root note in a song.
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#8
The notes E-F#-A-B would actually make a Esus2sus4 arpeggio (not a typo).
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#9
They have these all the time...they're called dominant, diminished, and half diminished.
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#10
Quote by nightwind
12 tone row. Atonal music. Arnold Schoenberg.

Google these terms.

that would be chromatic
#11
^ not necessarily. shawn lane does lots of atonal stuff but its definately NOT chromatic. personally a friend of mine said it best "it sounds like klingon war music dude" ..... but some people dig it
#13
What I was thinking was you could write something in a key, let's say D Major. You could use all the notes from D Major, but when you write a melody, there's no focal point which would make it neither major nor minor.
#14
Quote by Vittu0666
What I was thinking was you could write something in a key, let's say D Major. You could use all the notes from D Major, but when you write a melody, there's no focal point which would make it neither major nor minor.

well if you wrote it in d major it'd be in d major, regardless of any focal points. right?
#15
I believe that, technically, the third is what makes something major or minor. So if you didn't use the major minor third, I think it would be ambiguous.
#16
Quote by Spamwise
well if you wrote it in d major it'd be in d major, regardless of any focal points. right?

Well, what I meant was you could use the notes in D Major, but make sure that there is no tonal center.
#17
Quote by Spamwise
well if you wrote it in d major it'd be in d major, regardless of any focal points. right?


It all depends what the chord sequences resolve to. It could be a modal tune like So What which uses the notes from Cmajor and Db major but the focal point is Dm7 and Ebm7 ie Dorian.
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#18
yes, you can remove "focal points" or "resolution" points and it will sound atonal. basically a constant changing stream of notes that never resolves to any root location will give an atonal effect whether or not it's in a specific key. i've noticed that shawn lane will weave in and out of (not really out of but just go through) different keys at warp speeds, he will also use chords that are seemingly unrelated (really they are related, just often very odd and out there progressions)