# GarageBand: Major/Minor Key



## phatcactus (Jan 21, 2004)

Real quick...  I'm layin' out a new song in GarageBand, and it's in the key of A minor.  F major is the same thing as A minor, I think.  Seeing that GB doesn't give a place to put the scale when you pick a key, should I tell it that the song is in A or F?

Does it really even matter if you're not using Apple's loops?  I mean I could tell it it's in Q flat, but on the software keyboard, C would still be C.

Forgive me if I'm talkin' crazy.  I have no real musical education.

Much thanks!


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## mpbnl8182 (Jan 22, 2004)

phatcactus said:
			
		

> Real quick...  I'm layin' out a new song in GarageBand, and it's in the key of A minor.  F major is the same thing as A minor, I think.  Seeing that GB doesn't give a place to put the scale when you pick a key, should I tell it that the song is in A or F?
> 
> Does it really even matter if you're not using Apple's loops?  I mean I could tell it it's in Q flat, but on the software keyboard, C would still be C.
> 
> ...



No, it wouldn't matter if you aren't using any loops.  If you are laying down all the tracks, then it's the notes you are playing.  While my music theory is rusty, while a Major/Minor scale have the same flats/sharps, they are still not the same key.  Though, as always, I could be wrong.

MP

PS Good luck with your song


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## phatcactus (Jan 22, 2004)

Thank you.  I'm sure your rusty theory is better than my nonexistent theory.


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## karavite (Jan 24, 2004)

A Minor is the relative minor of C Major. From this, D minor would be the relative minor of F major. So, if you played a C major scale, but started and ended on A instead of C, you are playing an A minor scale. In C major, A is the 6th as is D the sixth of F major. For any other major scale, the 6th is the relative minor key. Does this make sense?

Here you go: A quick Google search on the "Circle of Fifths" - 
http://www.torvund.net/guitar/Theory/23-Circle_of_fifth.asp

P.S. Don't be intimidated by theory, it is just a lot of adding or subtracting, counting intervals, some terminology and memorization at it's most basic level - kind of like your multiplication tables for math! If we didn't have our 12 tone scale with that annoying lack of an E#/Fb or a B#/Cb (or just used 11 letters instead of 7 letters + flats and sharps), it would be a piece of cake! Imagine if we had to learn how to count numbers and had a "3 sharp" and a "7 flat" to deal with!

Learning theory on guitar is difficult because it is often hard to see the relationships - keyboard/piano makes it MUCH easier. Even if you don't play piano, it is a great tool for learning theory; especially when you learn your scales in all keys - a good first step. As you get used to it, you will picture a keyboard in your mind whenever you are sorting something out.

If you really want to get weird, I can tell you all about how my old theory teacher taught me to use the image of "girl types" to help me understand the tonal qualities of all the modes of the major scale. For example, Ionian mode - cheer leader, Phrygian mode - psycho goth girl, Aolian - cute though kind of neurotic girl... then again, we all may have different taste in women and women can certainly use their own guy types for modes too!


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## phatcactus (Jan 24, 2004)

karavite:  Yeah, that does actually make some sense.  I played piano when I was a youngum, so I have no idea why I thought A minor was F major.  I'm absolutely hopeless, that's for sure.  

And although I fear the explanation, why 11 notes?  Aren't there 12?  Pleeease tell me there are still 12...!

Funny you mention your technique.  When I was learning piano, I associated different notes' sounds with different members of a family.  Like, C was the dad, and A was the mom, black keys were like, the mean family members, stuff like that.  This, and the fact that I absolutely hated practicing, led me to play everything by ear, so I never really learned to read music, and so this theory business is nonsense to me.  Boo.


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## karavite (Jan 24, 2004)

phatcactus said:
			
		

> And although I fear the explanation, why 11 notes?  Aren't there 12?  Pleeease tell me there are still 12...!



You know, I KNEW that would be adding yet more confusion!  We have a 12 tone system in each octive, but since the first and last note in this range are the same, that is why I said 11 letters.

A A# B C C# D D# E F F# G G# A
= 12 - right, but "A" is listed twice in the octave.

So if we made "theory more usable" by getting rid of flats and sharps and just use somthing like:

A B C D E F G H I J K A

we still have the same 12 tone scale, but only need 11 letters to do that. You know what, I don't think that would make things easier! 

Any way, theory is really interesting, but you know what, there are plenty of great muscians who don't know much theory and plenty of boring ones who do - of course the opposite is also true too. I learned theory for jazz, but was always amazed at how the really good jazz muscians know so much about theory to the point they don't even think about it when they play over tunes that change key every two beats - they just know what they want to do and do it. Some go even further by breaking all rules and making it work. Achieving that kind of level is insane for most humans. On the flip side, I think the only way you can be a great blues player is to not know much about theory! As soon as you start adding all those extra notes, you can lose the whole essence of it! Know what I mean?

P.S. If you are ever playing blues with a snotty/jerk/arrogant... horn player, call out a blues in any key but F or Bb and you will more than likely ruin his day - plain old B will really screw them up unless they know their stuff!

Any way - that's really funny about your family notes! See, you were able to associate sounds with ideas/moods without any theory. I'd take a good ear over theory any day! Maybe you should write a song in Garage Band, then use the software to transpose it to F# (or some other sharp/flat heavy key) and play it for all those mean family members! 

Any, though I suppose I know a bit about theory it does help me appreciate certain musicians/composers like Thelonius Monk, Duke Ellington or Bach. But these same people knew how to really "say something" in a non-quantifiable emotional way too. At the same time I simply love Earl Scruggs (banjo player and did the Beverly Hills music - was even on a few shows) and Neil Young. These two (the latter) just write great songs and simple melodies and that is all you need some times!

One more story in my endless babbling. In my little music room/office, I  have a print out framed on my wall of a transcription of an insanely complex improvised sax solo by John Coltrane, someone who REALLY knew his theory. Some guy took the time to transcribe the entire solo and showed it to John Coltrane. His reaction was something like, "I could never play this." I think that says something important about getting to analytical about music!


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