MaxDolensky wrote:Keys are near-meaningless in tracker music - it's computed like atonal music is - arps are all relative to 0 (base note), sharps are always, flats are omitted, etc. Trying to force tracker format into the foundation for your argument about what scales fit what chord is baseless - it's not in a musical context at all, it's an abstraction or reduction.
Keys are near meaningless in tracker music?
Here is a guide to staying in key for tracker peeps.
C Natural minor
C, D, D#, F, G, G#, A#
(I), (II), (iii), (IV), (V), (vi), (vii)
C min : C, D#, G (0, 3, 7), (I, iii, V)
C sus4 : C, F, G (0, 5, 7), (I, IV, V)
Cm7 : C, D#, G, A# (0, 3, 7, A)
Ddim : D, F, G# (0, 3, 6), (II, IV, vi)
Dm7b5 : C, D, F, G# (0, 3, 6, A), (I, II, IV, vi)
D#Maj : D#, G, A# (0, 4, 7), (iii, V, vii)
D#sus4 : D#, G#, A# (0, 5, 7), (iii, vi, vii)
D#Maj7 : D, D#, G, A# (0, 4, 7, B), (II, iii, V, vii)
F min : C, F, G# (0, 3, 7), (I, IV, vi)
Fsus4 : C, F, A# (0, 5, 7), (I, IV, vii)
Fm7 : C, D#, F, G# (0, 3, 7, A), (I, iii, IV, vi)
Gmin : D, G, A# (0, 3, 7), (II, V, vii)
Gsus4 : C, D, G (0, 5, 7), (I, II, V)
Gm7 : D, F, G, A# (0, 3, 7, A), (II, IV, V, vii)
G#Maj : C, D#, G# (0, 4, 7), (I, iii, vi)
G#Maj7 : C, D#, G, G# (0, 4, 7, B), (I, iii, V, vi)
G#6th : C, D#, F, G# (0, 4, 7, 9), (I, iii, IV, vi)
A#Maj : D, F, A# (0, 4, 7), (II, IV, vii)
A#sus4 : D#, F, A# (0, 5, 7), (iii, IV, vii)
A#7th : D, F, G#, A# (0, 4, 7, A), (II, IV, vi, vii)
If anyone can find any mistakes or suggest any improvements please let me know.
Honestly, instead of wasting time with 'trial and error music' and then saying its jazz, use this system. It will save you precious time.