Still confused as far as chords and notes go...

[Apparition]

I know there's a way to change key or scale. But I'm sure there's a right and wrong way to do it. Can you change from say, a C Major to a Mixolydian or something? How is this done. I'm sure all songs ever created don't only involve 7 keys from the start to finish. Perhaps I should just pick up a theory book.

[Bobbotov]

You can have myxolodian in the key of C. It is just a scale with a B-flat instead of a B natural. What I think you are talking about is modulating from one key to another. What this does is provide intermediate chords that modulate from the key you are currently in to a new key so that the transition is not abrupt. Here is a brief description of diatonic modulation with a link to non-diatonic modulation (at bottom of page):

http://www.jacmuse.com/harmonic%20resou ... page39.htm

You can change keys simply by moving up or down a half step without any intermediate modulation. Ergo, going from the key of C to C sharp.

[buckshead]

You can modulate from one key to another any way you like, but there are sequences that sound right and ones that sound dreadful. Stick to the usual ways to begin with, dont experiment until you know what you're doing.

[jopy]

You can modulate from one key to another any way you like, but there are sequences that sound more consonant and ones that sound dissonant or unexpected. Experiment freely until you know what you're doing.

Just a quick patch job on that advice.

The most consonant sounding modulations move around the circle of fifths either forward or backwards; whole step modulations within a key also usually sound consonant. Using secondary dominants also helps make a more smooth sound, but of course, that's not always what you want to have.

What type of music are you trying to write?

p.s. technically "C mixolydian" is a mode, not a key, but that's just a terminology thingie that matters only if you're trying to write functional harmony.

[llatham]

Perhaps I should just pick up a theory book.

A better thing to do would be to listen to actual pieces of music and see how they work.

I know there's a way to change key or scale. But I'm sure there's a right and wrong way to do it. Can you change from say, a C Major to a Mixolydian or something? How is this done. I'm sure all songs ever created don't only involve 7 keys from the start to finish.

Correct. In fact, most pop music stays in one key only, or moves between to relative keys - like G major and E minor.

Even some classical music pieces only use two keys (though many use much more).

There's really no "right" way to do it - it's art.

But, here are some traditional modulation/key change methods:

1. Relative key changes - for example, G major to E minor. The key of G and Em have the same key signature, so changing between them means simply changing the focus of the chord structure (though there can be more to it).

2. Parallel mode changes - for example, Cm to C Major. Since the center - C - doesn't change, you only have to change the 3rd, 6th and 7th note, which is commonly done. We might also include the newer concept of moving from C Major to C mixolydian, where you just change the b7.

3. Common chord modulation - you use chords, or a chord progression to modulate to a new key. For example, Am is available in the key of C, G, F, Am, Em, etc. If you want to change from the key of C to the key of G, you can use the Am chord to "smooth over" the transition since it appears in both keys.

4. Common tone modulation - similar, except that you find a single note that's common between two keys, rather than two chords. This is usually used when there are no common chords between the two keys. For example, if you want to go from C Major to E major, there are no common chords between those two keys, but they both have an E note in them (among others). You use the E to "connect" one key to the next.

5. Direct Modulation - you literally, just change key. Pow, there it is.

In popular music today, it seems like there's a lot of things done to intentionally avoid sounding "too classical" (with exceptions of course). For example, in a lot of minor key pieces, people use a v (minor v) chord instead of V (major V) to make it sound "more modal" and "less classical".

Classical music uses mostly common chord modulations, and most of those are to closely-related keys (around the circle of 5ths as someone mentioned). Pop music has tended again to go "anti-classical" and tends to use a lot of direct modulations. You're in C, then pow, you're in D. Most of the time those key changes happen at the end of one prase and beginning of the next, so they're sometimes called "phrase modulations".

HTH,
Steve

[Download SOphist]

5. Direct Modulation - you literally, just change key. Pow, there it is.

I beg to differ, i think it's more of Bam! There you go. I'm a purist.

(sorry, couldn't resist)

[trewq]

2. Parallel mode changes - for example, Cm to C Major. Since the center - C - doesn't change, you only have to change the 3rd, 6th and 7th note, which is commonly done. We might also include the newer concept of moving from C Major to C mixolydian, where you just change the b7.

3. Common chord modulation - you use chords, or a chord progression to modulate to a new key. For example, Am is available in the key of C, G, F, Am, Em, etc. If you want to change from the key of C to the key of G, you can use the Am chord to "smooth over" the transition since it appears in both keys.

HTH,
Steve

So the next question I'm sure would be: 'How will I know what chords are common between keys?'

I just use software to lay it all out for me - tho I've been into chords and keys for over 30 years.

Chordware.com - all you do is select a scale, generate its chords, select another scale, and check AND before you generate its chords. You can also select chords that are unique to the new scale.

[Ogg Vorbis]

What would happen if you analyzed and studied a bunch of songs? Transcription, hack thru, hunt and peck, whatever.

[frederik D]

Classical music uses mostly common chord modulations, and most of those are to closely-related keys (around the circle of 5ths as someone mentioned).

Yes, but especially in the romantic period there are some nice additional modulations that have been used, for example the modulation in thirds (Schubert used this quite a lot). This is often done with a common note as you pointed out. For example, you could end on a chord of G major (I in G or V in C, can be both), with the g-note emphasised (both in bass and main melody), and then the next chord is Eb major, with the g-note still in the melody (the bass often descends in a whole tone rone row from g to f to eb). And there you are, in Eb major. Sounds a bit more colourful then the modulations in 5ths you mentioned, and is rather easy to use, especially in between prhases or larger sections of a piece.

Frederik

[bugs]

...Perhaps I should just pick up a theory book.

Excellent idea!

[Max Headroom]

What would be a good book for a beginner? Is it better to learn theory before, after, or while you learn to play your first instrument?

[bugs]

This would be a good start...

http://www.amazon.com/Berklee-Music-The ... 170&sr=1-1

Having a keyboard at hand would be good.