Rutger Muller

Read through these threads. Seems like a big miscommunication happened based on how much critical information is hidden behind convention. You are 100% right different heights of pitch relative to the absolute spectrum hit with different character, color, and vibe. However, “key” doesn’t directly refer to the location in an absolute spectrum unless a reference diapason is given. In 12-equal, the key of A where A = 220 Hz would end up being identical in sound as the key of D where A is tuned to 164.814 Hz. The abstract syntax such as spelling changes but the phenomenal sound ends up being identical and it will voice the same. You’re a killer musician and you connect deeply in the phenomenal, aural space. You are precisely what makes a great music teacher because you listen deep into the sound rather than having the map take precedent. Keys are logically identical while containing different notions (letters/syntax). Keys, when grounded to a reference, absolutely sound and vibrate completely differently. A clear example to the confused doubters: subbass! In 12-equal tuned to 220 Hz, the key of G has terrible bass support. It places the low Gs at either 49 Hz or 98 Hz, 98 Hz tends to be "knocky" or a bit pinched as a full bass. 49 Hz ends up being a bit too low for regular speaker systems to pick up with great depth. The entire timbre of the mix changes based on the key very clearly in this case. Personally, I have found it necessary over the years to teach my students to reject octaves, reject inversion, and reject transposition as anything fundamental in the sound rather than useful as a form of logic to structure interaction with. G2 is absolutely nothing like G3 in timbre beyond it's chroma / pitch class identity within the given system. Keep doing you and listening, feeling, and being deeply, Pat!

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