Relative key | F-flat major enharmonic: E major |
---|---|
Parallel key | D-flat major |
Dominant key | A-flat minor enharmonic: G-sharp minor |
Subdominant | G-flat minor enharmonic: F-sharp minor |
Enharmonic | C-sharp minor |
Component pitches | |
D♭, E♭, F♭, G♭, A♭, B, C♭ |
Dbm In Auto Tuner
Standard 1 dBm –27 dBm Option 006 –2.5 dBm –20.5 dBm Option 007 –2.5 dBm –14.5 dBm Option 016 1 dBm –29 dBm Mech. Variable Duplex Port RF IN/OUT Port Option 055 1 dBm –25 dBm Option 055 w/016 1 dBm –27 dBm Harmonics: 5 kHz from carrier) Residual FM (rms, CCITT): 250 kHz ≤f c. Level Range: -127 to +7 dBm into 50 V Reverse Power: 200 mW max. SWR RF In/Out: dBm) Supplemental Characteristics Resolution: 0.1 dB Spectral Purity Spurious Signals (for dBm output level at Duplex Out or dBm output level at RF In/Out). Harmonics: 5 kHz. In theory you're supposed to set it to the key of the song, but your ear is the best determinant of what key the vocals should be tuned to. Here is a song I'm working on right now. The key of the song is F minor, but I have the auto tune set in D minor instead cause I felt it sounds better. (CG-1365) for an overview and basic operating instructions for AutoTune itself. Conventions Standard Analog RX Signal. A -47 dBm RF carrier modulated at 60% rated channel deviation. Standard Digital RX Signal. A -47 dBm RF carrier modulated with a O.153 test pattern on a 12.5 kHz channel. 7.75 V for MOTOTRBO Mobile and 2. Auto Tune is an immediate action key.analyzertospItmostTune–50Auto isthen dBm.designedWhen Tuneoflikelyfeature strong the to onit signal(s)setanalyzer, is worksantos thepressed, signalquickyFM, center fof CWexcludingr ininterest.signals getit andth frequcauses yo tunableW-CDMA above the Autoncy the theLO.o Insignal. This demonstration,You will see that we the will Auto performTuneanalyzer function based adjusts on the thesignal span band- of the width. For a CW signal, the span is set to 25 kHz.
D-flat minor is a theoretical key based on D♭, consisting of the pitches D♭, E♭, F♭, G♭, A♭, B♭♭, and C♭. Its key signature has six flats and one double flat. Its relative major is F-flat major, which is usually replaced by E major. Its parallel major is D-flat major, and its direct enharmonic equivalent, C-sharp minor, is normally used.
The D-flat natural minor scale is:
Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D-flat harmonic minor and melodic minor scales are:
D-flat minor is usually notated as the enharmonic key of C-sharp minor, as in the second and third measures of Amy Beach's Canticle of the Sun.[1] However, unusually, two of Verdi's most well-known operas, La traviata and Rigoletto, both end in D-flat minor (although written with the five-flat key signature of the parallel major). Mahler's thematic motif 'der kleine Appell' ('call to order') from his Fourth and Fifth Symphonies uses both notations: in his Symphony No. 4 (first movement) it is in D-flat minor, but in his Symphony No. 5 it is in C-sharp minor. In the Adagio of his Symphony No. 9 a solo bassoon interpolation following the main theme appears first in D-flat minor, returning twice more notated in C-sharp minor. Likewise, in the Adagio of Bruckner's Symphony No. 8, phrases that are tonally in D-flat minor are notated as C-sharp minor.[2][3][4][5]
References[edit]
- ^Amy Beach & Betty Buchanan (2006). The Canticle of the Sun. A-R Editions, Inc. p. xiii. ISBN0-89579-583-3.
- ^Ernst Levy (1985). A Theory of Harmony. SUNY Press. p. 62. ISBN0-87395-993-0.
- ^James L. Zychowicz (2005). 'Structural Considerations'. Mahler's Fourth Symphony. Oxford University Press. p. 28. ISBN0-19-816206-5.
- ^Eero Tarasti (1996). 'Music history revisited'. In Eero Tarasti; Paul Forsell; Richard Littlefield (eds.). Musical Semiotics in Growth. Indiana University Press. pp. 14–15. ISBN0-253-32949-3.
- ^Theodor W. Adorno (1992). Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. University of Chicago Press. pp. 165–166. ISBN0-226-00769-3.
Dbm In Autotune
Scales and keys[edit]
Diatonicscales and keys | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
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The table indicates the number of sharps or flats in each scale. Minor scales are written in lower case. |