Hi Sherry Not knowing where t
 

Hi Sherry
Not knowing where to put it,I just did it here.
I loaded up just one example about my problem,which is not always restricted to BB-files.
Some midi files when opened in Composer only play in the key of C ( especially BB-files ) or other keys than shown in the staff control.
I sent a couple of midi files with easy bass lines to a young nephew who just started bass playing, using Notation Player.
I sent this particular midi file as being a song in Bes,but the bass line is defenitely in C.
So how do I explain this to this wannabe Jaco Pastorius ?
Thanks and regards

Djimhttp://www.notation.com/discus/messages/35939/37139.jpg

Howdy Djim, Well, without s
 

Howdy Djim,

Well, without seeing the entire file, there are a couple of things that could be going on.

1. The file might actually be in C, but have so many "jazz accidentals" (or as a friend of mine says, it might "accidentally be jazz" ;) ), that Composer is interpreting the key as Bb. You can change the key signature just by double-clicking it and using the dialog to change it.

2. The file might actually be in Bb, but be played in a different "mode". Here (a whole step up) it would be Dorian, very popular in Celtic music and some jazz.

Modes give a different "flavor" to a piece by returning to a fundamental that is different than the major key would expect. This concept is easiest to see and hear on a keyboard.

If you play the C scale on the white keys starting at some C and ending at the C an octave up, you get the familiar "do re mi ..." scale. BUT if you start on D ("re") and play up just the white keys to the next D, you're playing all the same note pitches as before, but now you've played them in the Dorian scale, which is a "mode" of C. By returning to the D rather than the C, you've changed the sequence and the fundamental, and it gives it a distinctively different feel than the C major (Ionian mode) scale sequence.

So, that's the short version http://www.notation.com/discus/clipart/happy.gif I'd have to see the whole file to know which it is.

ttfn,
Sherry

Hi Djim, Sherry's right
 

Hi Djim,

Sherry's right, I think. There's not enough of the piece to establish a key. It might be in C, and begins with the tonic chord with an added minor 7th. (The Eb doesn't really count because it's a grace note leading to a natural E.) In fact the whole example contains tones in a C chord. Or it could be in G minor and begins on the sub-dominant chord, a C with a minor 7th. I think the chord analysis above the notes hints at the ambiguity. There doesn't seem to be any particular reason that the G's in the bass should be considered parts of a G minor chord.

I guess for me the important thing is that, so far, it sounds pretty good.

all best,
mgj

Hi Sherry and MG Thanks for f
 

Hi Sherry and MG
Thanks for freshing up my modal theory " knowledge ".It now makes sense to me but way too complicated yet for an aspiring Jaco.I will leave that to his bass guru.
I have been more familiar with the relative minor mode than the Dorian and other modes for intro´s,fills and solo´s etc, most probably for not being a real jazz connoisseur.
I will add the whole not.file ,just for the sake of learning.
Thanks for your responses and regards from sunny Portugal
Djim<center><table border=1><tr><td>http://www.notation.com/discus/icons...hment_icon.gif
blues_comp1.not (245.7 k)</td></tr></table></center>

Hi you guys, Well, it does
 

Hi you guys,

Well, it does look like it's basically in C, since the majority of chords are built around the I, IV and V chords of C, although there are those that it takes a somewhat tortured analysis to make come out that way. The ending provides a good example. The final chord is a C with a minor 7th and 9th, the 5th missing. Just before that you could say it's a Db chord with the same basic structure, but you could also say, I guess that it's an augmented F chord with a diminished 4th and minor 7th. The important thing is that, for me, it makes a nice indefinite cadence. In a number of places, I'd just call some of the chords combined, such as in measure 11, where a G major and G minor are combined. If you look at just the notes of the melody line, you see pretty much a piece in C.

I don't see any inescapable logic to the key signature, and wonder if perhaps it was assigned to reduce the number of accidentals to a minimum, which would make sense.

What my ear sends to my brain results in hearing a catchy enjoyable piece. So if Jaco just plays the notes that he sees, it should sound good. And it may be more fun in sunny Portugal than usually overcast Southeast Ohio.

all best,
mgj

Hi Mg Thanks for the in depth
 

Hi Mg
Thanks for the in depth analysis of this little tune .It is indeed a nice easy peace to play along the bass line in C ,whatever the intention of the composer.

quote:I don't see any inescapable logic to the key signature, and wonder if perhaps it was assigned to reduce the number of accidentals to a minimum, which would make sense.

We call it " artist´s freedom " in EU.
Thanks again and regards
Djim