Changing keys within a song

[bunmiadefisayo]

How do i do this effectively? How do i transition from one key the other smoothly? The best example i can give (i know most ppl on this site listen to rock) is in Gospel music where they change keys and the change is so smooth and you immediately flow into the new key w/o any problems. I bet there are other examples but a lot of music i listen is gospel, R&B and jazz.

[CSchlegel]

How do i transition from one key the other smoothly?

I did a little post on that over here:
http://www.guitartricks.com/forum/showthread.php?t=19844

The main idea is to decide how much you will prepare for the arrival of the key. To completely prepare requires using effective voice leading by means of using chords that approach the new key (i.e. secondary dominants).

So that if you are in C major but you want to go to E major you would look for ways to outline:

C major -> F# minor (or dominant 7) -> B major (or dom 7) -> E major.

Because the function of those chords is to be a ii - V -I pointing to the new key you want to be in. Regarding the voice leading specifically I did a whole thing on that on my music blog:
http://christopherschlegel.thinkertothinker.com/index.php

Hope this helps. Happy playing.

[ren]

Your options are pretty much as follows:

1) Play in the first key, and then move to the second on the change
2) Play in the first key, use another key to transition between the two, and then on to the second key, usually a chromatic run or dimished bits to bridge the gap.
3) Play in another key that fits the two you're playing against.

Depends on the music, and your ear really. If you know your diatonic harmony you'll be able to tell whether both keys in question below to another key - in which case you can play in the same key in spite of the change.

Also, depending on what the two keys are, modal shapes can imply keys so you might be able to use those.

If you can be specific on what changes we're talking about, I can gear the answer to your specific if that helps....

[CSchlegel]

Furthermore! :)

You don't need to limit use of secondary doms to changing keys. You can also do it within a key. Adds depth and a richness of sound to a chord progression that makes it sound more integrated.

For example, the old standby of playing in G major and going to E minor. This is just I to vi - or change to relative minor:


|-3-------0-|
|-3-------0-|
|-0-------0-|
|-0-------2-|
|-2-------2-|
|-3-------0-|

But how about we prepare for the arrival of the E minor chord?

|-3--2--2---0-|
|-3--2--0---0-|
|-0--2--2---0-|
|-0--4--1---2-|
|-2--4--2---2-|
|-3--2------0-|

Notice that even though F#minor and B7 are not in the key of G they can be used very nicely to sound as if you are "temporarily in the key of E minor". Just long enough to get to E minor, then you can just keep playing in G major.

Does that little example sound familar?! Sure, it the opening to "Yesterday" by the Beates - and a million other jazz tunes & classical pieces.

[Mark Pav]

The circle of fifths is also a common way to make a key change work. You play through chords one fifth away from each other to reach your desired key. Normally you only play through a couple.

For example, say you are in the key of G and you want to get to another key. Well, the fifth of G is D and you could simply play the G and then the D and be in a new key. And off you go in the key of D now. Or you could go a step further: G D A (A is a fifth away from D). Now you've gone from the key of G to A.

Relative minors can make the transitions a bit smoother, too, because they change the sound of things without actually taking you away from your target key. For example, you could go G Em D Bm A or G Bm D F#m A and they work quite well.

[bunmiadefisayo]

OMG thanks so much guys. You really hit on what i was looking for, esp MarkPav. I noticed when playing in C there came a part of the song that normally called for a key change and i kept on playing in C while the singer had shifted to F!!! It was incredible to me that i could keep on playing in C and still have the singer sing in F. What is the theory behind this and who do i know if a key will "fit" in another?

[ren]

diatonic harmony...

Key of A for Example

A Bm C#m D E F#m G#dim

each key uses the same progression...

[6strngs_2hmbkrs]

in the gospel music I play at my church. most songs tend to be setup like so: verse-chorus-verse-chorus-chorus. usually, if there is a key change it comes in for the last chorus, and is usually from G to A, from D to E, etc.

[bunmiadefisayo]

in the gospel music I play at my church. most songs tend to be setup like so: verse-chorus-verse-chorus-chorus. usually, if there is a key change it comes in for the last chorus, and is usually from G to A, from D to E, etc.

Yeah i can get moving one whole step but i wanted to know how i could do it seamlessly so there wouldnt have to be a pause when i want to shift keys. Like for instance you play a I IV V cadence, instead of going back on home key after V, what chord can i use to transition to the new key i want (lets, for argument's sake say i want to move up a whole step).

[CSchlegel]

...but i wanted to know how i could do it seamlessly so there wouldnt have to be a pause when i want to shift keys. Like for instance you play a I IV V cadence, instead of going back on home key after V, what chord can i use to transition to the new key i want (lets, for argument's sake say i want to move up a whole step).
Play the V chord of the NEW key you are changing to. Or play the IV-V or the ii-V of the new key. Also, look for chords that contain common tones for better integration (or "smooth sounding" transitions - or "seamless" as you say!). For example:

Key of G major: G, A, B, C, D, E, F#
Key A major: A, B, C#, D, E, F#, G#

They share the notes A, B, D, E, F#. So out of those notes you can make a D major chord or a B minor chord (or B minor 7). When you play the D chord it will sound as the V of G major, but the IV of A major.

The next important part is to consider the rhythm or phrasing you use. If the song typically uses one chord per measure of 4/4 and is structured in 4 bar phrases then use THAT format. Don't play against it unless you want to draw attention to the key change. To make it sound "seamless" or "natural" figure out a way to keep that same order.

An actual song or chord progression would help here to use as a concrete example. I will use this as an example:

| G \ \ \ | E min \ \ \ | C \ \ \ | D \ \ \ |

Now if your song does this all the time simply adding an E chord as a extra measure will sound awkward.

| G \ \ \ | E min \ \ \ | C \ \ \ | D \ \ \ | E \ \ \ |

So you might want to consider keeping with the 4 measure phrasing but altering the chords slightly in order to get to key of A major:

| G \ \ \ | E min \ \ \ | C \ \ \ | D \ E \ |

Or just go right to the new V chord:

| G \ \ \ | E min \ \ \ | C \ \ \ | E \ \ \ |

Doesn't sound too bad because the C major and E major share the note E.

I like this type of choice personally:

| G \ \ \ | E min \ \ \ | B min 7 \ \ \ | E7 \ \ \ |

Because the first 3 chord are solidly in key of G and the last 2 are in key of A. So you get a bit of overlapping there. :)

Finally (I know I sound like a broken record here :P) but voice leading is very important and frequently overlooked as a way of making smooth transitions. So here is one way of playing that last example:


|-3-3-3-3-|-3-3-3-3-|-5-5-5-5-|-4-4-4-4-|
|-3-3-3-3-|-5-5-5-5-|-3-3-3-3-|-3-3-3-3-|
|-4-4-4-4-|-4-4-4-4-|-4-4-4-4-|-4-4-4-4-|
|-5-5-5-5-|-5-5-5-5-|-4-4-4-4-|-2-2-2-2-|
|---------|---------|---------|---------|
|---------|---------|---------|---------|
G E min B min 7 E7

Then right into A major chord and key!

[Krunek]

I dont know if this will help, but I will still post it. Maybe it will. In our folk songs, there is a dance called chardash (hungarian origin; I think). Modulations abound here. For example, first part of the verse is in C second in G then F... like this.
C,G, C/G/C/D G,D, G/F# F,C... And so forth. Afterwards, it goes to d and so on.
Maybe it will help you out. Dont know. Hope it will.

[Jolly McJollyson]

How do i do this effectively? How do i transition from one key the other smoothly? The best example i can give (i know most ppl on this site listen to rock) is in Gospel music where they change keys and the change is so smooth and you immediately flow into the new key w/o any problems. I bet there are other examples but a lot of music i listen is gospel, R&B and jazz.
I'll elaborate later, but the most common changes are chromatic runs by half step, or relative dominants.

[bunmiadefisayo]

I'll elaborate later, but the most common changes are chromatic runs by half step, or relative dominants.

Are you still going to elaborate? Thanks.

[RandyEllefson]

I did an article on this at http://www.randyellefson.com/guitar/articles/composing/structural_chord_progressions.html that goes into a fair amount of detail. Hope it helps.

[Jolly McJollyson]

Are you still going to elaborate? Thanks.
Yeah, my life's been a little hectic for long posts recently, so give me a week or so and I'll throw it down.

[Hamberg]

How do i do this effectively? How do i transition from one key the other smoothly? The best example i can give (i know most ppl on this site listen to rock) is in Gospel music where they change keys and the change is so smooth and you immediately flow into the new key w/o any problems. I bet there are other examples but a lot of music i listen is gospel, R&B and jazz.

It has alot to do with the arrangment. Aside from modulation and stuff like that. If the arrangment allows it, a key change from C Major to C# Major (or whatever it would be) should sound natural, at least, if not cool.

[RandyEllefson]

It's very hard to make a key change of all 7 notes sound natural. Something that extreme is usually done to be a bit shocking anyway.

[axemaster911]

I assume this means changing your key through out the neck, tricky if the song has alot of notes, and riffs, and chord progressions, and more than one octave, but it bet that sounds cool.

[Jolly McJollyson]

Most key changes involve chromatic lines or chords:

A change from Fmaj to Emaj, for example, would go something like this

F-F#-G-G#-A-Bb-B-C-C#-D-Eb-E-E-E
in the melody (though it certainly doesn't have to be a straight shot like that.

And the harmony might be something like, hmm...

Fmajor7 (3rd inversion) : Gminmajor7 (root position) : Gminmaj7 (third inversion)

etc etc etc

Or you could bring in secondary dominants, i.e. V of (in this case) Vii

[axemaster911]

I have never had much luck with chromatic lines. Except on rare occasions for me playing notes outside the key just dont sound right. I am sure with more study on this subject I would learn techniques on incorporating notes out of key within a tune, but timing, and placement for me is hit, or miss.
I would like to here a tune that incorporates two keys, it certainly would be chromatic, and not an easy thing to properly do, especially with band members who are struggling with one key, let alone two.
If somebody knows a song like that done right post it. I think many could benefit from studing the blending of keys, and which keys blend best together.

[niccar113]

well, most of what can be said about how to change keys within a song has been said, but for good practice try these two pieces...

"Blue Bossa"- (suggested version by Pat Martino), which has a moderate but noticable key change at the start of the ninth measure of the melody

"I Love Paris"- (suggested version by Louis Armstront), which has a very noticable key change at the start of the twenty-fifth measure of the melody

for more practice, i would suggest getting "The Real Book", quite possibly the greatest collection of jazz pieces ever culminated and transcribed for guitar... Blue Bossa and I Love Paris are both in there, along with many others that have significant key changes to check out

[axemaster911]

well, most of what can be said about how to change keys within a song has been said, but for good practice try these two pieces...

"Blue Bossa"- (suggested version by Pat Martino), which has a moderate but noticable key change at the start of the ninth measure of the melody

"I Love Paris"- (suggested version by Louis Armstront), which has a very noticable key change at the start of the twenty-fifth measure of the melody

for more practice, i would suggest getting "The Real Book", quite possibly the greatest collection of jazz pieces ever culminated and transcribed for guitar... Blue Bossa and I Love Paris are both in there, along with many others that have significant key changes to check out


I am not much into jazz, but an example of the key changes from the songs you mentioned would work for study. Do you know the sequences of the notes in the measures noted above? If so, if you dont mind write the notes in order of play along with string numbers. Those interested could get a basic grasp of your suggestion this way if their like me not able to locate the songs your talking about.
I myself would like to try applying these techniques to metal, and hard rock applications. Jazzing up my metal, I dont know,worth a try.

[Hamberg]

I am not much into jazz, but an example of the key changes from the songs you mentioned would work for study. Do you know the sequences of the notes in the measures noted above? If so, if you dont mind write the notes in order of play along with string numbers. Those interested could get a basic grasp of your suggestion this way if their like me not able to locate the songs your talking about.
I myself would like to try applying these techniques to metal, and hard rock applications. Jazzing up my metal, I dont know,worth a try.

jazz and metal are the exact same thing

[axemaster911]

jazz and metal are the exact same thing


This way of thinking could get you injured in some circles. You must me messing with me. There are 12 notes in music, thats where the similarity ends. Thats all I have to say about that. Rock on.

[6strngs_2hmbkrs]

This way of thinking could get you injured in some circles. You must me messing with me. There are 12 notes in music, thats where the similarity ends. Thats all I have to say about that. Rock on.
he means they are the same in terms of how you transition a key change. not that they sound the same or use the same techniques or anything like that. at least I think that's what he's trying to say.

[axemaster911]

I have been messing around with chormatic runs,( dabbling ) off and on, and I always come back to the same conclusion. Too many notes in a song,( especially notes form another key ) tend to dilute the interest, and strenght of a peice. I myself use all 7 notes of a key for effect, and trying to work in chromatic notes just does not sound right to me. I mean every once and a while I will hit on something, but no big deal. Certainly not worth the extra effort. Not to mention the adjustments the other band members may have to make to blend. I recommend sticking within the root key for the most part. This whole changing key subject is over for me. Besides after 22 years of playing Im still finding new cool sounds in just one key, no problem. Extra notes not needed. You know sometimes I wonder if some people use that key changing excuse to cover for laps in technique, and the constant practice needed to stay in good form.
But thats just me.

[6strngs_2hmbkrs]

You know sometimes I wonder if some people use that key changing excuse to cover for laps in technique, and the constant practice needed to stay in good form.
changing keys IS a technique. you even said yourself that it's not super easy:
Certainly not worth the extra effort. Not to mention the adjustments the other band members may have to make to blend.
it's not like people do key changes as a way to "cheat" their songs into sounding interesting. first of all, it's rarely used, so how do they make all their other songs interesting? and secondly, like I said, it IS a technique, and not a simple one.

[axemaster911]

changing keys IS a technique. you even said yourself that it's not super easy:

it's not like people do key changes as a way to "cheat" their songs into sounding interesting. first of all, it's rarely used, so how do they make all their other songs interesting? and secondly, like I said, it IS a technique, and not a simple one.


I dont think this technique is rarely used because of the difficulty factor. I think its more of a sound quality factor. Playing notes outside the key your working in just doesnt sound right. You can get away with a few here, and there too add effect, and interest. But I belive unless a person is making music that requires an out of key sound for a strange, mysterious effect it should be avoided. I am mainly saying this for the less experienced players slill in the process of learning the diatonic scale. Untill you have a working grasp of the diatonic scale, key changes should not be considered. The points I am trying to make on this subject are intended for gutiarists still in training an need not worry about more than one key per song.
I have a feeling that if real amazing, cool sounds could come from blasting through two or more keys per song it wouldent be a rarely used technique, regardless of the difficulty, and extra effort involved to do it right.
I admit this is still a subject I am studying, and dont fully understand, but I know enough not to waste my time, when there will always be plenty to keep me busy working, and creating new sounds within one key.
Dont take offence, its just my opinion. Rock on

[Jolly McJollyson]

But I belive unless a person is making music that requires an out of key sound for a strange, mysterious effect it should be avoided.
Yeah, that Beethoven, Mozart, Haydn, Brahms, Bach, and basically everyone else that ever composed so-called "classical" music sure did only use key changes and out-of-key notes for strange and mysterious effect.

[axemaster911]

Yeah, that Beethoven, Mozart, Haydn, Brahms, Bach, and basically everyone else that ever composed so-called "classical" music sure did only use key changes and out-of-key notes for strange and mysterious effect.


I would like to see the note structure of a song that uses notes from 2 different keys. I mean if we are talking about two full keys and not just random chromatic notes.
I am mainly saying beginners should focus on mastering one key first. After that the sky is the limit. Rock on >

[Mark Pav]

I'd say that up until the 90s at least half of the songs on the radio--even in the Top 40--would modulate for the chorus or a middle 8. It's more common than you might think.

[screwed]

Check out Son Of a Preacherman by Dusty Springfield.
verse 1+2 e-a-e-b7
chorus e-a-e-a-e-b-a
Bridge d-a-b7-e7 setup for key change to a
chorus 2
a-d-a-d-a-e-d7

[CSchlegel]

I would like to see the note structure of a song that uses notes from 2 different keys.
How about three?!

http://en.wikipedia.org/wiki/Three-key_exposition

Also, once you get into the development section of any Beethoven piece (sonata, concerto, symphony) the key changes come even more fast and furious. In fact, there are very few classical pieces that do not change key somewhere along the way as a matter of standard procedure.

The idea is to make a piece richer, and more varied in sound and expression.

I am mainly saying beginners should focus on mastering one key first. After that the sky is the limit.
Sure, and this is a very good point. After all, how can you expect to be able to successfully, confidently two keys in a piece until after you've got one under control?

[axemaster911]

If your changing keys during a song your band members may need to have that ability also, or at least know the keys your migrating too for practice.

[Jolly McJollyson]

If your changing keys during a song your band members may need to have that ability also, or at least know the keys your migrating too for practice.
Usually a modulation is not done during improv, and if it were, the communication between band members would absolutely HAVE to be a verbal description of how the modulation was to occur and to what key.

[axemaster911]

Usually a modulation is not done during improv, and if it were, the communication between band members would absolutely HAVE to be a verbal description of how the modulation was to occur and to what key.


I assume your trying to be helpful, but if you tried wording this a little less complex it would be easier for simple folk like me to understand.

[6strngs_2hmbkrs]

I assume your trying to be helpful, but if you tried wording this a little less complex it would be easier for simple folk like me to understand.
basically here's what he said:

Usually a key change is not done when messing around and improvising, and if it were, you would have to verbally tell the other band members how the key change was going to happen and what key you are changing to.

[Jolly McJollyson]

I assume your trying to be helpful, but if you tried wording this a little less complex it would be easier for simple folk like me to understand.
umm...ok.

You'll probably have to say what you're gonna do out loud.

[axemaster911]

umm...ok.

You'll probably have to say what you're gonna do out loud.

Considering the volume levels at some of our sessions sign language may be needed. ( joking )
I see what you mean. What keys work best together, and what keys dont? Is this a trial and error technique, or are there common set guidelines for study?

[Jolly McJollyson]

Considering the volume levels at some of our sessions sign language may be needed. ( joking )
I see what you mean. What keys work best together, and what keys dont? Is this a trial and error technique, or are there common set guidelines for study?
There are guidelines. Many, many guidelines. Pick up a good theory book on modulation and learn a few (if you plan on doing this with a band, have them learn the guidelines as well). I wouldn't say two keys work "best" together... Really you can modulate to any key from any other key. Though for quick modulations, the relative major/minor, the dominant, and the parallel major/minor are pretty simple.

[axemaster911]

There are guidelines. Many, many guidelines. Pick up a good theory book on modulation and learn a few (if you plan on doing this with a band, have them learn the guidelines as well). I wouldn't say two keys work "best" together... Really you can modulate to any key from any other key. Though for quick modulations, the relative major/minor, the dominant, and the parallel major/minor are pretty simple.


Much thanks,