How does the listener (subconsciously) know what scale a melody is being played in?

[YoungCapone]

I made a simple melody in FL studio that was in C Major. The melody consisted of two phrases both of which started on D. The only difference between the two is the second phrase ended on C (the tonic of C major). The only problem is, it didn’t feel resolved ending on the tonic like I thought it would. When I changed the last note of the tonic to a D it sounded resolved even though D is not the tonic of C Major. After looking further into it, I realized that all the notes I used were also in D Dorian as well as C Major. So, my question is what defines a melody as being in a certain key to the listener? What makes the listener want to hear notes in a certain scale within a melody or resolve on the tonic of a certain scale?

 

[crosstevsky]

@YoungCapone Your questions are very interesting...with a different logic than usual...simple answer...because it sounds good...

 

[YoungCapone]

@YoungCapone Your questions are very interesting...with a different logic than usual...simple answer...because it sounds good...

Thanks!

 

[VelvetRoom]

The only people thinking about what the scale is are other producers/musicians. Probably 90% of people never thought about a scale or even know what a key is. Subconsciously they interpret the mood of the notes and associate it with their own imagery and feelings, so its your job as a producer give them enough to work with, but the advanced theory doesn't even matter as long as it sounds good. I mean Cmajor and Aminor is the same shit, ya know? All that matters is that it sounds good. Sry that doesnt really answer your question, just my thoughts...

 

[YoungCapone]

The only people thinking about what the scale is are other producers/musicians. Probably 90% of people never thought about a scale or even know what a key is. Subconsciously they interpret the mood of the notes and associate it with their own imagery and feelings, so its your job as a producer give them enough to work with, but the advanced theory doesn't even matter as long as it sounds good. I mean Cmajor and Aminor is the same shit, ya know? All that matters is that it sounds good. Sry that doesnt really answer your question, just my thoughts...

Thanks! Appreciate the input

 

[thedreampolice]

yes, most people would not know that a key or a scale is even a thing. For them it just feels good or not. But as you learn music, you know HOW to create that feeling in others. I could for example write a happy or sad song immediately because I know what scales to use to put that together.

 

[Comp]

I agree with all the above, just go by what sounds good. If it sounds good, it is good.
Also more technical, you started all the phrases on D, so that sets the root for the listener to D. Hence you felt the resolving with the D at the end. If you really want C, try to play around the C and kind off pull the listener towards it.

But again, if it sounds good, it is good

 

[2GooD Productions]

I cannot say, by the term subconscious, its what is not consciously perceived. So if the person having the subconscious experience cannot explain it, how can I?
Consciously people usually know if something sounds like shit.

 

[thedreampolice]

Im going to disagree with you on that one @2GooD Productions, as music creators it is our job to be able to explain the why. We know for example that major chords sound happier than minor chords, diminished chords even more so. We need to understand it so we can create those unexplainable experiences for others.

 

[2GooD Productions]

Im going to disagree with you on that one @2GooD Productions, as music creators it is our job to be able to explain the why. We know for example that major chords sound happier than minor chords, diminished chords even more so. We need to understand it so we can create those unexplainable experiences for others.

But you are talking about how things affect us consciously, the subconscious by its very definition is beyond our recognition until it manifests in dreams and such.
Unexplainable and subconscious are two different things.
Music can affect us emotionally without it being subconscious, we perceive music consciously so it affects us emotionally.
Im just being pedantic about the use of the word subconscious, where hypnotic triggers are often placed as to be imperceptible to the conscious mind so go unnoticed.

 

[thedreampolice]

Got it, yea that makes sense.

 

[YannFer]

If I am right about this, the subconscious you are talking about is the "feeling of resolution" which you assume must be on the tonic. If your tune is in C major but you start with a D (Dmin chord i guess), then you're probable more in A minor scale (same notes as C but in minor). Then your tonic might be the A and D would be your IV degree. A being the 5th of your D minor chord, you can resolve there with no problem. C is your III degree so it doesn't feel resolved. Maybe try to resolve on A minor. If it works, then your tune is in A minor.

And to simply answer the question about what makes us want a melody to resolve on a note and why some notes on the other hand might build tension to a melody, I guess it has to do with the intervals we are used to in our musical culture. Some people listen to lots of jazzy stuff and may find your tune resolving in C just fine.

 

[Iron Keys]

I actuallybeen wondering about this lately and been thinking to ask some of my higher level musician friends about this.

Honestly I think it's just "how it sounds".

Because they're the same "key" of C Major, people are quite familiar with how music sounds - we've heard it our whole life.

The only difference from C Maj and D Dorian is the intervals(?)... so if you played the same melody but starting at C it will have a different "sound" because of the steps/intervals.

Say you played C D E
That's 2 whole steps
But if you played D E F
That's a whole steo and a half step

So it would "sound" different. Despite being in the same key essentially, they share the same notes and chords, the only difference is the interval/steps between notes that make thar difference in sound or vibe.

Or something like that.