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-as of [22 MAY 2024]–
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-in ‘music theory’, the key of a piece is the ‘tonic note’ (+ ‘chord’) that provides a ‘subjective sense’ of ‘arrival’ + ‘rest’–
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(other ‘notes + ‘chords’ in the piece create varying degrees of ‘tension’, resolved when the ‘tonic note’ (or ‘tonic chord’) returns)
(the ‘key’ may be ‘major’ or ‘minor’)
(although ‘major’ is assumed in a phrase like “this piece is in C”)
(popular songs are usually in a ‘key’, and so is ‘classical music’ during the ‘common practice period’ (~1650 – ~1900))
(longer pieces in the ‘classical repertoire’ may have sections in ‘contrasting keys’)
(methods that establish the ‘key’ for a particular piece can be complicated to explain (in ‘words’) + vary over ‘music history’)
(however, the ‘chords’ most often used in a piece in a particular ‘key’ are those that contain the ‘notes’ in the corresponding ‘scale’ + ‘conventional progressions’ of these ‘chords’, particularly cadences, orient the listener around the tonic)
(the key signature is not a reliable guide to the key of a written piece)
(it does not discriminate between a major key and its relative minor; the piece may modulate to a different key; if the modulation is brief, it may not involve a change of key signature, being indicated instead with accidentals)
(occasionally, a piece in a mode such as Mixolydian or Dorian is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece.
(pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic)
(a piece using some other type of harmony, resolving e.g. to A, might be described as “in A” to indicate that A is the tonal center of the piece)
(an instrument may be said to be “in a key”, an unrelated usage meaning it is a transposing instrument)
(a key relationship is the relationship between keys, measured by common tones and nearness on the circle of fifths)
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*FURTHER READING* —>
“closely related key”
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*👨🔬🕵️♀️🙇♀️*SKETCHES*🙇♂️👩🔬🕵️♂️*
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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