G Minor Vocal Samples

[Katrine Freggiaro]

Iwould view the Project Key as just that, the key of the song. Think of it in terms musical notation. If you want a minor key, use the parallel major key: Am = C, Em = G and so on. Would that work in your case?

I suppose yes, I am not into chord track and stuff so maybe it get there to some extend but having it through character you can sync tune of the mediabay to follow project root note and you can quickly audition samples in minor key and also in nearest key(with automatic pitch 1,2,3 etc to proj root key) having it otherwise will be a bit messy i think.

I have a vocal that is in Eb minor, I wanted to pitch it to F major. Can anybody help me on how to do it? I have Little Alterboy but it does not help me much. I tried changing the cents from the pitch knob available in the sample as well but increasing 200 cents takes me up only 2 semitones and that makes the key of the sample F minor and I need the sample in F major.

The quick answer is that it won't work because you can't transpose between major and minor tonalities. You'll need a different kind of program to get that kind of thing done, or it can be done manually with experience (more on this later).

That said, it is possible to exploit the phenomenon of relative keys to get something pretty close to what the question asks for: By shifting the pitch of the Eb minor sample down a semitone, it will be in D minor, which is the relative minor key of F major. Thus the sample could be placed quite convincingly in F major after that modification.

However, this is slightly different from what would occur when shifting normally between major keys. Suppose the first note of the original sample is Eb. The note Eb happens to be the tonic of Eb minor, also known as scale degree 1. Now, apply the shift to get to D minor and the first note is now D. Since D minor is the relative key of F major, let's suppose we've placed our D minor sample in F major. This should work pretty well, and all the notes will align with the key. Now the first note of our pitch-shifted sample is D, and the note D is the tonic of D minor as well. However, that note D is the submediant of F major rather than the tonic - in other words, we successfully put the sample into F major by using the relative minor, but this relative movement also changed what positions in the scale the notes of the sample occupy (our original scale degree 1 of Eb is now scale degree 6 for F).

This kind of change may or may not be desirable, depending on the musician/composer/producer's subjective vision of what the music should sound like. I mention relative keys because relative shifts are a very simple task for a computer program, since it just corresponds to a multiplication of the frequency of all notes by the same constant ratio. No matter how complex the music is, transposition is an objective and algorithmic process.

The other way to go between tonalities is via parallel keys, which is not as easy for a computer to accomplish (or human, although musicians can get very good at it). This transformation edits specific pitch classes of the music to essentially force the music into a major key; think of it like rounding numbers to the nearest integer in math, but rounding notes into the major scale instead. Not only is this a more difficult programming exercise, it is also subjective when music gets more complicated than simple diatonic notes. For example, how would you convert Rimsy-Korsakov's *Flight of the Bumblebee" into a major key? Or the Legend of Zelda title theme into a minor key? Or any blues music, which will almost always blend major and minor key elements?

It's possible to have a program simply map every possible note onto a note of the major scale, but often times that can lead to a less-musical result when non-diatonic notes and chords appear. Melodic contours might change, and carefully-planned harmonies can stop making sense - the intent of the piece starts to get lost without some subjective guidance. As a result, this parallel process can have varying rates of success if done via software and it may or may not be desirable for the sample in question.

So if the sample needs to go from Eb minor to F major, then this can be achieved with a transposition in conjunction with either a relative transformation or a parallel transformation (same pitch classes vs. same tonic). But there's no way to bump a piece of music from a major key to a minor key or vice versa by using transposition alone!

Okay, so maybe this song isn't exactly a party anthem. But there was at least a year or two where it was inescapable, and likely played at some parties, somewhere, as things were winding down. It actually might serve as a good closing time song, conveying bitterness, regret, and conflicting feelings. Either way, it's a famous song (and its massive fame still sort of surprises me, as it still sounds to me very much a product of its alterna-electro-genre-niche of the early 2010s) and it's both in Aeolian mode & makes use of an obscure jazz sample.

Intro: Gotye, a Belgian-Australian singer-songwriter, made a massive splash in 2011 with his unusual, xylophone riff-laden, he said/she said song "Somebody That I Used to Know". The tune was at first a smash hit in Australia and later released in the UK & US, where it went on to even more success. The song was Billboard's number one Hot 100 single of 2012 and the next year won two Grammys (for Best Pop Duo/Group Video and Record of the Year). Its huge success also helped both Gotye and Kimbra, whose contrasting vocals were essential to the song's success, to earn ARIA awards in Australia that year. The song reached #1 in 25 countries aside from the US & Australia and holds the current spot of the #4 single of all-time in Australia. This makes Gotye, at least to non-Australian audiences, the most successful one-hit wonder in recent memory.

Analysis: The song is in D minor, with the first two chords drawn from a sample of Brazilian jazz guitarist Luiz Bonfa's 1967 recording "Seville". The very first second of "Seville" is looped throughout "Somebody"'s intro & its verses. The chord progression oscillates from Dm to C (or i-VII) up until we first hear the chorus (which begins at 1:33 in this video recording), where it moves to Dm, C, Bb (or i-VII-VI progression). Here, the C & Bb chords would serve as IV & V chords were we in F major (relative major to D minor), but seeing as there is no F chord present, this simple progression keeps the song firmly in D minor (Aeolian) territory.

Considerations for Teaching: Seeing that the song is so well known, students will probably already be familiar with it. The lyrics are in no way inappropriate, and although there is nothing obscene contained within the video, both Gotye & Kimbra are clearly nude and sporadically covered in paint throughout.

Additionally, here is a recording of Luiz Bonfa's original "Seville". For my money, this would make an amazing example for a general music or music tech class, demonstrating that you can base an entire (massively successful) song off of a one-second sample.

With a flexible tempo (BPM), these ethnic Arabic vocal samples can be seamlessly integrated into your projects. They are well-suited for ambient soundtracks, video games, films, documentaries, and more.

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