Why is G major best key?

Why is G major best key?

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>G major
strange way to spell Fx major

It’s no E minor

C minor is the best key you fucking spaz

Ab major is the best piano scale
E is the best guitar scale

>not C# minor
lel

>Thinking that keys can be ranked independently of instrumentation.

So, equal temperament's been a thing for a while now, guys.

shut the fuck up C minor is fucking hard

What do you mean, 'hard'?

In my head E minor is just G major's minor mode. I find it more straightforward to think of modal playing in terms of the parent major scale.
E minor and C lydian are two of my favorites so I like the G major scale a lot.

Key does still matter on guitar because open strings have a particular sound and you can only play certain strings open in certain keys. If you're only playing barre chords I don't think it matters though.

>Doesn't distinguish between functional tonality in a minor key and Aeolian modality.

...That would be precisely why I derided the ranking of keys "independently of instrumentation".

>not Zb Hungarian locrian quadtatonic

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>what is alternative tuning

>>not Zb Hungarian locrian quadtatonic
Were that to exist, it would be a scale, not a key. If you're going to shitpost, at least do it in a way that makes sense.

>Doesn't distinguish between functional tonality in a minor key and Aeolian modality.
Can you explain that more or link me a video or something?
I do understand T/SD/D function but I don't really know what you mean here. I and vi are interchangable tonic notes, and the notes of a minor scale still pull to the same notes they pull to in their parent major scale right? So what's the difference?
In an alternate tuning the keys containing the open strings would be different but the same thing would apply.

fucking hell you're neurotic

he means "erect"

t. retard

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Eh, you've phrased your question oddly.

To be clear, I don't think that you misunderstand how minor keys work, and all you've mentioned about them is mostly correct:

Yes, relative tonics can share functionality within one another's keys (ie: Am can function a tonic in the key of C, and vice-versa), and yes, each scale degree in a minor key has roughly the same functional pull as it's related scale-degree in a major key (with the exception of the subtonic vs leading-tone), and by that I mean that E in the key of A minor has the same function as G in the key of C major, NOT that E has the same function in both C major AND A minor.

I think you get all of that, I just wanted to be clear so that we're on the same page, since the way you phrased it didn't make it entirely clear.

What I think you weren't getting wasn't the difference between major and minor so much as the difference between major and Ionian, or minor and Aeolian.

The whole idea of functionality is a concept tied to keys, not modes; it's the reason we raise the subtonic into the leading-tone in minor keys to establish a dominant function.

A lot of people make the mistake of envisioning keys as scales; as just a set of notes - but a key isn't the notes, it's the relationships between them. This is why, for instance, there's no such thing as a harmonic or melodic minor key - those are scales; there is simply a minor key, which has a variable seventh degree in order to establish a dominant function, and a variable sixth degree in order to ensure smooth voice-leading and to avoid the augmented second interval.

So when you say E minor is just G major's mode, that's incorrect, because they have a completely different set of relationships between the notes.

Ok.

Bbm > Gm > Cm > EbM > AM > Dm > DM

You can bicker about the rest.

See