Does anyone know the keyboard notes for "Atmosphere"?

All I know is that it's C# and F# basically...anyone know the notes for the little break Barney plays after the the verses? :)

Just started learning to play the Keyboard

That looks like a "naw" Rikki

The tune is like this: 1 repeat e# d# e# d# e# d# as necessary 2 play g# f# e# c# once 3 in the finale it's f# c# f# on the opposite chords (f# is on the C# chord etc.) I don't know if it was invented by Bernard, but his use of the fourth became a popular new wave trick. As you can see, the 99% of New Order's keyboard tunes are based on similar dynamics, they're very easy to find by ear, just try and you'll find them after a few. The part 1 of the tune is the reverse of what he'll do on Temptation, which is basically e f e f e f e f and again e d after a while. The part 2 is basically playing the first five notes descending while omitting the second, another popular new wave trick (I mean, play all the five notes, ascending or descending, and omit either the second OR the fourth). I like the fact this music is simple and yet so emotional, Bernard knew nothing about music and just played what he liked without worrying too much if what he did was "difficult" enough. Very punk, all easy and straight from the heart. Had he had a deeper knowledge, he'd never have made music like this, though Kraftwerk were very serious musicians and still managed to keep the melodies at a very basic structure.

Wow! Thank you very much :) Im gonna try and figure out Blue Monday now as you said his keyboard parts are simple =]

Surely it's just one-fingered variations of C, F and G, with higher E/D in the chorus for melody? Can't see Barn fussing about with the black keys in JD days; much more likely that the pitch was altered after the music was recorded to make it easier for Ian to sing to. They've done this sort of thing quite a bit; for example Turn sounds like its first chord is D#m, but much more likely to have been played with an Em as the opening chord and the pitch of the music was tweaked to suit Barney's vocals...ditto with Crystal. Just an opinion, mind CTB

Yeah exactly CTB, I know what you mean, I always play New Order on white keys myself. Gillian learnt black keys only in the mid-80s, maybe that's why they didn't play Joy Division? ;) Nah, I think you're right, can't really see Barney finding an e# or playing an F# chord. Those one-fingered variations are what I really like about New Order, the power of swinging whithin the tone or the semi-tone has been forgotten by too many musicians pretending to create more complex melodies. This said from a huge Prefab Sprout and Steely Dan fan, these bands are the best of the sophisticates, still I find the simpler stuff often more emotional.

CTB wrote: Surely it's just one-fingered variations of C, F and G, with higher E/D in the chorus for melody? Can't see Barn fussing about with the black keys in JD days; much more likely that the pitch was altered after the music was recorded to make it easier for Ian to sing to. They've done this sort of thing quite a bit; for example Turn sounds like its first chord is D#m, but much more likely to have been played with an Em as the opening chord and the pitch of the music was tweaked to suit Barney's vocals...ditto with Crystal. Just an opinion, mind CTB

I thought it was in 'C' too. Sounds like open chords on the record, and that's what Bernard plays in the live vids Reading 98 and Finsbury 02.

Joy Division mucked about with different keys because I don't they had considered what Ian's vocal range was. Ian definitely strains on a lot of live stuff. For all the talk about Bernard being off key live, Ian has his share of deviant pitches.

Bingo, NO have/had a terrible fear of accidentals (sharps/flats), hence lots of tunes in C Maj/A min (no flats) and D min.

I'd have said D rather than C, knowing that bassplayers, and particularly guitarists tend to try and write everything in an "open" key. But C it seems to be.

For a good example of a pitched-up master....Power of Love by FGTH runs a full semitone (12% ish) sharp, purely cos the producer thought Johnson's voice sounded better with the constant overstones shifted (speeding a voice or instrument up moves these frequencies which normally remain fixed while the instrument changes pitch (and define the sound of said instrument) and results in the "pinky and perky" effect of happy hardcore vocals.)