Jim (Texas) : Thanks for that. Your mention of Melodist is one to those many features of Band-in-a-Box that I have been wanting to get into. Being used to Crescendo, and currently fascinated by Real Tracks and DAW technology...hopefully, one day.
Jim Fogle : Jah, Man, good observations. We like to take things apart to see how they work, do we not? I mean, the cultural trait. It follows that the hymn book is no exception. Amazing Grace in Cmaj has a range of G to G. May I call that one octave? The first note is a 1/4 note g, which happens to be as low as it goes in this song. Further along, there is a high g, which is as high as it goes. That's how I conclude the range is g to g. (Bearing in mind, the g is the #5 of the C scale. In this song, there is nothing lower.)
I've not had voice lessons, but it stands to reason, using an audible tuner, I can identify the lowest and highest notes of my comfort zone, or range. This assumes the idea is not neither strain nor shift. Also, we know from observation, the hymns tend to stay within two, rarely three, notes, plus or minus, of the notes of the key.
I tried this, and found that I could comfortably hit the low g. Not much lower. F if I pushed it.
So, my hypothesis says, go a note up from the lowest comfortable. In this case, it is an a. The A-note is the #5 of the D-scale. In the D-scale, then, the song starts off with the A. That is a transposition from the key of Cmaj, where the first note was a g.
If I try the song in the key of Dmaj, should be able to handle the range, with a one note cushion. Crazy, or what?
All in the spirit of analysis.





Last edited by edshaw; 12/31/18 08:22 AM.
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