IDM Mailing Archive

Do any Djs keep a list of "keys" of various tracks (as well as BPM)? ("key" as in F or Bflat etc. - the tonal center of a track or whatever you choose to call it) If so: What are the most frequently used keys? What are the least frequently used keys? Do certain producers have "favorite" keys? What's the BMP limitation on changing tracks with different keys? Like if you're going from F to G (Maj 2nd up), What does that amount to in BPM change if the F track is BPM=120 and the G track is BPM = "x"? Anybody work with stuff like that? mediadrome --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On Mon, Apr 16, 2001 at 03:05:45PM -0400, Mediadrome@aol.com wrote:

quoted 3 lines Do any Djs keep a list of "keys" of various tracks (as well as BPM)?

> Do any Djs keep a list of "keys" of various tracks (as well as BPM)? > ("key" as in F or Bflat etc. - the tonal center of a track or whatever > you choose to call it)

You could try to do this, but about 90% of electronic music isn't in any key... Unless you're a trance DJ who's trying to spin a set that follows the circle of fifths, this doesn't seem really practical. -- :: atomly :: atomly@atomly.com | atomly@atdot.org | atomly@curiousnetworks.com http://www.atomly.com | http://www.mp3.com/atomly --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

At 15:26 16/04/01 -0400, you wrote:

quoted 6 lines Do any Djs keep a list of "keys" of various tracks (as well as BPM)?

>>Do any Djs keep a list of "keys" of various tracks (as well as BPM)? >>("key" as in F or Bflat etc. - the tonal center of a track or whatever >>you choose to call it) > >I think I read somewhere a while ago that mixmaster morris did this, or >something similar...

anybody up for seeing the master of mix doing this.. check out BLEEPSTREET in bristol (UK) at the thekla boat night club thing.. on friday 27 april 2001.. with supports from ming (hombré records) [live] + joe90 (big chill) dj set plus dj sets from loads of other lovely people (inc myself!).. starts about 10pm methinks.. so come and pay us west country peeps a visit. sorry for the intrusion..tomx --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

even more radical is morris is doing two free nights back to back in south london - sundays @ glo rooms in camberwell. mondays - brixton - the dog star. on monday the 30th matt black will be joining him & so will lots of other laid back people..... did anyone see morris & prefuse 73 @ nesh last weekend???? was just curious how that went down or errr up... -- wagon christ 'musipal' drops 2 april 01 vibert site http://brainwashed.com/vibert/ ( everything you want to know) http://www.wagon-christ http://www.astralwerks.com/vibertcole/ vibert/cole project site.com discography http://allmusic.com/cg/x.dll?p=amg&sql=B203575 http://brainwashed.com/vibert/discography.html (very good) http://vibert.33-rpm.net interviews http://www.fly.co.uk/vibert.html http://music.hyperreal.org/library/publicity/luke_vibert/vibint.html http://music.hyperreal.org/library/publicity/luke_vibert/wagon_christ_interview --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 10 lines On Mon, Apr 16, 2001 at 03:05:45PM -0400, Mediadrome@aol.com wrote:

> >On Mon, Apr 16, 2001 at 03:05:45PM -0400, Mediadrome@aol.com wrote: >> Do any Djs keep a list of "keys" of various tracks (as well as BPM)? >> ("key" as in F or Bflat etc. - the tonal center of a track or whatever >> you choose to call it) > >You could try to do this, but about 90% of electronic music isn't in any >key... > >Unless you're a trance DJ who's trying to spin a set that follows the

circle of fifths, this doesn't seem really practical. really? seems like a fair amount of electronic music tracks have looped basslines, ostinati and/or drones which give the tracks the sense of having a "main note" even if it's not a true tonal center. let's see, what's sitting on my turntable? It's Maurizio's M5. at first glance, not tonal, but really it has a prominent tuned drum part hitting F and Ab. sounds like it's in F minor. after awhile the "we love dub" guitar sample comes in. It's a Db major chord. the rest of the piece continues similarly, sounding like an inverted Db major chord. so if you were mixing you could treat the beginning as Fm and the end as a Db. Okay, so I was lucky it wasn't an Autechre record or something. but i think it's typical enough. seems like a legitimate idea in theory, to be able to predict what the tonal segue would be like. whether it was worth the trouble would depend on the intentions, skill and wherwithal of the dj. k --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On 16/04/01 19:33, Kurt Hoffman said in living color:

quoted 14 lines really? seems like a fair amount of electronic music tracks have

> really? seems like a fair amount of electronic music tracks have > looped basslines, ostinati and/or drones which give the tracks the > sense of having a "main note" even if it's not a true tonal center. > > let's see, what's sitting on my turntable? It's Maurizio's M5. at > first glance, not tonal, but really it has a prominent tuned drum > part hitting F and Ab. sounds like it's in F minor. after awhile the > "we love dub" guitar sample comes in. It's a Db major chord. the rest > of the piece continues similarly, sounding like an inverted Db major > chord. so if you were mixing you could treat the beginning as Fm and > the end as a Db. > > Okay, so I was lucky it wasn't an Autechre record or something. but i > think it's typical enough.

Well, pretty much every Autechre track is in A minor, so... ;) (Only partly kidding... really, a *whole* lot of them *are* in A minor, if I remember correctly [or in Aeolian mode, if you wish...]) g. -- Guillaume Grenier - gollum@videotron.ca in space there is no north in space there is no south in space there is no east in space there is no west --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On 16/04/01 23:49, Guillaume Grenier said in living color:

quoted 4 lines Well, pretty much every Autechre track is in A minor, so... ;)

> Well, pretty much every Autechre track is in A minor, so... ;) > > (Only partly kidding... really, a *whole* lot of them *are* in A minor, if I > remember correctly [or in Aeolian mode, if you wish...])

To reply to my own post and raise a bit its anality level and because I have nothing better to do right now: Aeolian mode would really be a better qualification of those Autechre tracks. 'Cause the tracks are (almost?) never "tonal" in a dominant-tonic sort of way. You'll (almost? -- I'd be really curious to see if that is 100% true...) never find a V with a "sensible" (that's leading tone, in English, I think?) resolving on a I (or a substitute) in an Autechre track. In other words, there is no occurrence of the tension-release couples which essentially define common practice tonal music. The music thus has a modal feel... With very unequivocal anchor tones. Very often being A. Exploited in an Aeolian mode. All of this of course only applies to those tracks containing a clear, "pitched" musical backbone (not just clicks, pops and scratches) rooted in the equal temperament system. Which amounts to the vast majority of their output, actually. Lately, they've been playing more and more with different harmonic/melodic frameworks, though... Some more atonal stuff (in a "non-tonal, non-modal but pitched" sense). Stuff focusing on an intervallic gesture rather than a real melody (say, the last track on the last Peel Sessions). Etc. I don't know if anybody gives a damn about that / if that makes any sense at all. But then, try explaining music theory concepts in a foreign language past midnight... Just try... g. -- Guillaume Grenier - gollum@videotron.ca in space there is no north in space there is no south in space there is no east in space there is no west --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

You guys are killing me! the vast majority of [worthwhile] dance music emphasizes rhythm and texture above tonality. And while we can discuss what's going on with pitches and keys, it would be missing the point. I always loved Ae cuz it was obvious they had very little "musical" background. All of the chords and melodies were so simple; the stark contrast to the dominating textures and rhythms was genius. And if you are mixing melodic music, the randomness of placing different keys and unexpected notes against each other can make for some cool effects. So essentially, don't worry about making mixes fit, in the classical sense of harmony. That would be so anti-techno/idm. :) --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Wow I would be really impressed if someone could find two tracks that were similar beats at the same bpm and in the same key, with melodies that fit together ..... --- Gee Why <gyaker@fragment.com> wrote:

quoted 29 lines You guys are killing me!

> You guys are killing me! > > the vast majority of [worthwhile] dance music > emphasizes rhythm and > texture above tonality. And while we can discuss > what's going on with > pitches and keys, it would be missing the point. > > I always loved Ae cuz it was obvious they had very > little "musical" > background. All of the chords and melodies were so > simple; the stark > contrast to the dominating textures and rhythms was > genius. > > And if you are mixing melodic music, the randomness > of placing different > keys and unexpected notes against each other can > make for some cool > effects. > > So essentially, don't worry about making mixes fit, > in the classical sense > of harmony. That would be so anti-techno/idm. > > :) > > >

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quoted 2 lines Okay, so I was lucky it wasn't an Autechre record or something. but i

> Okay, so I was lucky it wasn't an Autechre record or something. but i > think it's typical enough.

No way, Autechre is full of keys. Lots of key changes, too. No more changes than a lot of other music styles, but no less either. LP5 is very melodic, although a lot of people don't notice that at first with all the clickity percussion. - Cf --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 9 lines -----Original Message-----

> -----Original Message----- > From: Gee Why [mailto:gyaker@fragment.com] > Sent: Tuesday, April 17, 2001 10:23 AM > To: IDM list > Subject: Re: [idm] DJ Mixing - keys - > > So essentially, don't worry about making mixes fit, in the > classical sense > of harmony. That would be so anti-techno/idm.

Maybe that would be a good reason to try it. Just maybe.

quoted 1 line :)

> :)

) :> -adam --------------------------------------------------- Get free personalized email at http://www.iname.com --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 3 lines really? seems like a fair amount of electronic music tracks have

>> really? seems like a fair amount of electronic music tracks have >> looped basslines, ostinati and/or drones which give the tracks the >> sense of having a "main note" even if it's not a true tonal center.

check sense's "day off" on merck records' squadron v/a for some cool polychord-ism like this. an great example of ostinato

quoted 11 lines let's see, what's sitting on my turntable? It's Maurizio's M5. at

>> let's see, what's sitting on my turntable? It's Maurizio's M5. at >> first glance, not tonal, but really it has a prominent tuned drum >> part hitting F and Ab. sounds like it's in F minor. after awhile the >> "we love dub" guitar sample comes in. It's a Db major chord. the rest >> of the piece continues similarly, sounding like an inverted Db major >> chord. so if you were mixing you could treat the beginning as Fm and >> the end as a Db. >> >> Okay, so I was lucky it wasn't an Autechre record or something. but i >> think it's typical enough. > Well, pretty much every Autechre track is in A minor, so... ;)

well, with new abstract compositions as popularized by 'IDM' MANY compositions do not find their complexity in chord progressions or keys or modulation of keys.. I'd say a vast majority of 'IDM' as we know it (especially autechre-veined stuff) is usually in a single key, leaving the complexity to other things like complex and sometimes poly- rhythms... this is analagous to IDM/("newer electronica"?)'s broadening of a melody - never before has a genre been able to make the focus of a piece as atonal as autechre has with their beats... the "melody" you often hear in say "chiastic slide" is usually to keep the pace, like the beat is considered in hiphop, and the actual "music" ("melody") is found in the beat... I think IDM's a great example of how music theory is still applicable no matter how complex or un-rule-oriented music seems to get *pours 40 for mozart and bach* delphi --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org