I think finding the key for the vocalist is the most important thing in any band.

Good horn players should be able to play in any key. Of course, there are familiar keys I'm more comfortable playing in, and some that rarely cross my path, but I'll consider a non common key an opportunity to become more comfortable in that key.

I've been in groups with good singers who after finding their optimum key will ask if moving it a half step would make it easier for the musicians. That tells me the singer is a real pro.

But sometimes a half step difference makes the song sound weird, and I think that's what OP is talking about. Good musicians should realize this and not move from an awkward key to a comfortable key if the end product suffers.

I also prefer singers to know enough basic music theory to be able to converse with other musicians in the common language of music.

And yes, minor keys sound darker. I reject the sadder definition because some minor key songs are way too beautiful to be even remotely considered as sad. Tchaikovsky's "Romeo & Juliet" which I just heard in concert is an absolutely beautiful piece of music. At times it is exhilarating, yet it is done predominantly if not completely in minor keys (as most of Tchaikovsky's music is).

And Matt, I am glad your VI has good intonation. It seems that Selmer may have steadily improved the design or manufacturing techniques.

When I bought my VI, I tried 3 in the store (yes, a store in Miami actually 3) in front of a strobe tuner and picked the one with the best intonation. This was at the advice of my band director. When I traded my VI for the VII the intonation was quite good, the tone decent but not flexible, which is why I fell in love with the Couf Superba. It had what I considered better tone and intonation than the VI. But tone is subjective, as noted. Getz and Trane both played VI's and sounded very, very different.

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Bob "Notes" Norton smile Norton Music
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