MIDI key signature is metadata, so it does not control MIDI hardware or MIDI compatible instruments per se. It does convey information about key signatures to some DAW or sequencer or notation software that may be used to show the note names or staff locations. Key signature data might allow software that is aware of it to actually transpose the note pitch values to raise or lower the notes while keeping the same intervals, by simply specifying a new key, or to more easily determine the spelling and naming of chords. The key signature message includes the ability to show 0 sharps or flats, or 1 to seven sharps or flats, which would certainly cover the available options on a 12 semitone scale. It also includes the ability to specify if the key is minor or major, even though as has been noted that will not change how the note pitches will sound in an equal tempered pitch collection, which is what MIDI note numbers specify. It does change how the notes are spelled when enharmonic pitches are available, but that spelling is enforced by not permitting a mixture of sharps and flats in the same signature. I do not have access to SONAR/CBB right now to see if it will export key signature events appended to standard MIDI files, but if it does, one does wonder how it determines that the key is minor vs major if it only accepts major as an input. It is also my impression that changing the key signature in SONAR/CBB does not transpose what is written to the new key, which would involve recalculation of all of the note numbers. It might be better to look at the SONAR/CBB key signature option as a shorthand way to avoid having to modify a bunch of individual note numbers whenever changing a key, or even having to specify all of the sharps or flats to be intended to clean up the notation view. If it is just a sharp or flat insertion robot, then the Major = Relative Minor kludge should be sufficient, although as noted, may not be obvious to every user. On the other hand, it would seem to be a relatively trivial piece of programming to teach the robot to understand/display the natural minor key. 

soens
Fortunately 4 me there's much bigger fish to fry in the world.
 
Anyone for giant goldfish fillet?

 

Careful you don't get heavy metal poisoning, Dude!

No worries. I'm not into heavy metal.

slartabartfast
....On the other hand, it would seem to be a relatively trivial piece of programming to teach the robot to understand/display the natural minor key. 

I'd like to see that algorithm. I think it's far from trivial.
 
 

CbB does export key sigs successfully to the Notion notation program. That's the only one I've tried. I have to do some cleanup of course, because Cakewalk has always done some weird things with #s and bs. there is no absolute rule that composers consistently follow in "spelling" notes, or even in how they choose key sigs. Music theorists might shudder at how I do it. Sometimes my "rule" is what looks best. It gets really weird with transposing instruments. 
 
As for major/minor keys, it doesn't really matter if the software "understands" the differnce between a major and minor chord. People do however, so if the feeling is minor, it's in the relative minor. If the feeling is major, it's in the major. Same key sig for both. Of course, the flatted 3rd is what defines it technically, but the feeling will let all but the tone deaf know immediately if it's major ot minor.
 
Sometimes it's really hard to figure out what key a portion of music is in, if for example the primary harmony consistenly has flatted or augmented 5ths. I ran into that last night. To Bash's point, this would be a perfect example of a scale-type "key" for which there is no actual key sig. I finally settled on one by feel. One particular note just sounded like it was the tonic. But really, it was not in any key. Maybe I should have just left it in C. If I did that consistently, I would at least be following a rule. But there would be a ton of #s and bs.

To be honest - I would highly recommend to learn the fundamentals of Music Theory. It doesn't hurt. Everything to gain, nothing to lose. No need to stumble around to finally express your ideas by accident. 
Jm2C
 
Cheers :)

mkerl
To be honest - I would highly recommend to learn the fundamentals of Music Theory. It doesn't hurt. Everything to gain, nothing to lose. No need to stumble around to finally express your ideas by accident. 
Jm2C
 
Cheers :)

I actually did work through a music theory book back in the 70's. I'm fairly literate that way. However, like many I am primarily an "ear" guy. I think you learn a lot more by listening than by plowing through textbooks. All one really needs are the fundamentals: pitch, meter, keys, some basic harmony. Someone once said "Composers start composing first, and figure out how later." The essence of it is art, not theory. You only need theory to get it down correctly on paper. And rules especially are to be avoided. When asked what rules he followed, Debussy replied "My own." He was violating all kinds of crap, like parallel fifths, using exotic scales, etc. And he changed music forever.
 
Edit: Debussy actually said something like "Whatever please me." Which is exactly what Duke Ellington said: If it sounds good, it is good.

I've never fully understood why the snap to scale in the miditrack, doesn't usethe key signature to set it. Sure,it's handy to overide the Key signature, but it seems it should set the snap to scale key. This way when you have key signature changes the snape to scale key would follow it. 
 
I think Micheals request has some validity to it, and is something Bandlab should consider if they are implementing a chord track in their plans. as I IV V I would be become a i IV v i in dorian. Soitmay affect how it shows realted chord to the Key of the track.
 
Tangent :I'd like to see some keyboard shortcuts instead of just the snap to key option
Snap chromatically - drag
Snap diatonically - drag + keyboard shortcut 1
Snap to chord tone - drag + keyboard shortcut 2
Snap to octave - drag + keyboard shortcut 3
 

As CbB is expected to be on path to implement ARA2, then not only will the chord track be coming, but also the key signature functionality of Melodyne I would assume. The handshaking between Melodyne/DAW would need one to be able to drive the other (i.e., selecting key in one should update the other accordingly).

msmcleod

slartabartfast
....On the other hand, it would seem to be a relatively trivial piece of programming to teach the robot to understand/display the natural minor key. 

I'd like to see that algorithm. I think it's far from trivial.

Indeed, given a bunch of MIDI note numbers determining the key could be a trick. The existing programs to identify chords etc. are certainly not trivial. If that was your understanding of what I meant by the somewhat careless use of the word understand, I apologize, but what I was getting at, and Mr. Diemer was asking, is why SONAR/CBB does not show the minor key as an input choice. The current dialog displays a choice of the number of sharps or flats, which is shorthand describing which pitches are raised or lowered according to traditional music notation norms, and next to this in the same choice window the letter name of the major key that group of accidentals defines like this: D (2 sharps). It would seem to be a trivial job to have something like DM/Bm (2 sharps) appear in that dialog. That might make some users feel more comfortable at a low cost of development.
 
The key point (if you will excuse the pun) is that without  some knowledge of standard notation and some basic music theory, the user will not even know that he is going to have his F's and C's raised a semitone when he chooses 2 sharps. If he has attained that level of sophistication, then he probably can figure out the key names.