Tips for changing keys within a piece?
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- KVRAF
- Topic Starter
- 2307 posts since 27 Jan, 2011
Thanks everyone for these tips ... especially you, tapper mike
http://www.youtube.com/watch?v=3tDj_Van ... uNbgY-4qFK
Circumcision's just another way of saying 'bye to the 'hood
Circumcision's just another way of saying 'bye to the 'hood
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- KVRAF
- Topic Starter
- 2307 posts since 27 Jan, 2011
Uncle E wrote:Any major chord can become the Dominant 5th of a key you want to modulate into. For example, in the key of C, the C Major Tonic and F Major 4th can become the Dominant 5th's of F Major and Bb Major, respectively.
An even more powerful modulation would be to raise the 6th to become a Dominant 5th, which allows you to do the classic pop modulation of raising a whole tone, as found at 3:17 of Thong Song:
Makes me want to burst into thong
http://www.youtube.com/watch?v=3tDj_Van ... uNbgY-4qFK
Circumcision's just another way of saying 'bye to the 'hood
Circumcision's just another way of saying 'bye to the 'hood
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- KVRer
- 4 posts since 8 Nov, 2011
Changing keys.
1) Just start a progression in another key. It can be sequenced for effect (same roman numerals as the previous progression just in another key)
C#m F#m G#7 C#m || Bm Em F#7 Bm -- i iv V7 i [in C#m ]|| i iv V7 i [in Bm]
2) Use pivot chords. This is where you use a chord from your previous key that is the same as a chord in your next key. Example:
A E7/G# F#m E7 A, A E7/G# F#m B7 E -- I V7 vi V7 I, I V7 vi(in A)/ii(in E) V7 I
(Here going from the key of A to the key of E using the F#m as a pivot chord)
3) Turn a chord into a dominant chord. Achieve this by raising the 3rd of a minor chord or adding a dominant 7 to a Major chord. Example:
A Bm C#m C#7 F# -- I ii iii (in A) || V7 I (in F#, which could be major or minor)
This is used often for Planing, where you function in the other key for only a few beats or measures. Turning a I chord into a V7/IV is common.
4) Move by 4ths/5ths. Example:
A D E A, A D G C -- I IV V I, IV (In A) || V I in C (The D acts like a pivot here, functioning as a V/V in C or simply the V of G. Any Major triad can act as a V chord for the key a 4th up)
5) Move by Half Steps/whole steps. This works for reasons similar to moving in 4ths/5ths. Example:
A Bm E7 Eb Fm Bb7 A -- I ii V7 (in A) || (move down a half step) I ii V7 (in Eb) || (move down a half step) A [we've gove from A to Eb to A very efficiently]
(this can be used with major/minor/dominant chords. Dominants Going down a half to a major or dominant works very well. Minor to Minor works very well. Like chords moving to like chords by steps in general are often effective. Other intervals can be used too.)
6) Just end your phrase and start with a I chord in a new key. Phrase ends are perfect places to make all kinds of changes to the sonic environment without fussing around with transitions.
This just brushes the surface, but these are the ways I think of basic key changes.
1) Just start a progression in another key. It can be sequenced for effect (same roman numerals as the previous progression just in another key)
C#m F#m G#7 C#m || Bm Em F#7 Bm -- i iv V7 i [in C#m ]|| i iv V7 i [in Bm]
2) Use pivot chords. This is where you use a chord from your previous key that is the same as a chord in your next key. Example:
A E7/G# F#m E7 A, A E7/G# F#m B7 E -- I V7 vi V7 I, I V7 vi(in A)/ii(in E) V7 I
(Here going from the key of A to the key of E using the F#m as a pivot chord)
3) Turn a chord into a dominant chord. Achieve this by raising the 3rd of a minor chord or adding a dominant 7 to a Major chord. Example:
A Bm C#m C#7 F# -- I ii iii (in A) || V7 I (in F#, which could be major or minor)
This is used often for Planing, where you function in the other key for only a few beats or measures. Turning a I chord into a V7/IV is common.
4) Move by 4ths/5ths. Example:
A D E A, A D G C -- I IV V I, IV (In A) || V I in C (The D acts like a pivot here, functioning as a V/V in C or simply the V of G. Any Major triad can act as a V chord for the key a 4th up)
5) Move by Half Steps/whole steps. This works for reasons similar to moving in 4ths/5ths. Example:
A Bm E7 Eb Fm Bb7 A -- I ii V7 (in A) || (move down a half step) I ii V7 (in Eb) || (move down a half step) A [we've gove from A to Eb to A very efficiently]
(this can be used with major/minor/dominant chords. Dominants Going down a half to a major or dominant works very well. Minor to Minor works very well. Like chords moving to like chords by steps in general are often effective. Other intervals can be used too.)
6) Just end your phrase and start with a I chord in a new key. Phrase ends are perfect places to make all kinds of changes to the sonic environment without fussing around with transitions.
This just brushes the surface, but these are the ways I think of basic key changes.
L#