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| quote: | Originally posted by RichieV
although i do think djs would benifit by understanding the relationship of the keys regarding their songs and by doing so being able to manipulate this for greater impact on the dance floor , the system presented is a little simplistic and arbitrary. IT also doesn't differentiate between mixing harmonically related material and shifting to a new key.
I also dislike the system in that it provides a cheat ( a lousy one) that disuades djs from actually learning about harmonic modulation so that they actually understand how a shift is related.
I suppose it is something that most djs won't learn because most producers don't even know about keys so i guess the system is better than nothing but i thought i would just share my opinion on the whole thing.
I would still at least check it out and see for yourself. |
I think that is a bit of a sweeping generalisation if I'm to be honest and whilst I do see the point you are making I do not totally agree with it.
What Stu is doing is simply presenting it in a way that someone who is asking the question "what is HM?", may be able to discover the fundamentals. What they then choose to do with it is up to them.
We must not forget that every single genre of dance music out there today was pioneered by people who had little or no musical training and didn't know the rules or principles to making music, and as a result did what sounded good and felt right at the time. The so called rule book of the time had to be re-written and studio techniques where butchered and abused in ways that traditional producers would not have concieved of.
You don't have to know the ins and outs fully to make this work for you and sometimes you could even consider not knowing an advantage. Take some of the greatest names in music history and you will find people who have little or no classical training, i.e. Hendrix, Lennon and McCartney, Elvis and Dylan to name but a few.
You are going to have a large amount of bedroom DJs out there who will take this and use it for a while as it is written, mix records back to back and will get enjoyment out of it because they sound better than they did before. Nothing wrong in that, each to their own. The DJ who takes this, absorbs it and then puts his own spin on it is infinately more interesting anyway and will probably do this to every aspect of their mixing and stand a better chance of succeeding, but it all depends on what you want out of it.
Besides the Camelot method is just an easier way of remembering the 4ths and 5ths of a particular key. I don't really see what the difference would be if someone just memorised all the different relationships that each note has to the respective key, sure it might take a bit longer to remember it all but at the end of the day, it wouldn't change how the tracks are mixed or what is actually available to mix if a DJ wants to mix into the same or workable key. Whether the DJ mixes a Gm into a Cm or a 6a into a 5a would have absolutely no impact on what the actual mix sounds like.
You will actually find that DJs who are serious about their HM actually know both the number and note on the chromatic scale and can work with either system. A lot of DJs do key their own tracks rather than let software do it for them.
I personally just see it as a tool or technique that I frequently use, that doesn't mean I have to, I just like doing it and I know how to use it to get a desired reaction from the dancefloor. This does not take away the need for other core skills like beatmatching if you are like me and still like to do it the good ol' way, track selection and reading the crowd.
The nice thing I find about HM is that it creates a nice flow to the set and everything seems to have a place, a track selection can be quite random but wouldn't appear to be to the listner.
It just works with what I do,that said each to their own.
Nem
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