The Tonic

How can I shift the [U]tonic[/U] in a Major key to its relative minor key or vice versa as fast as possible when going into a new section. Is this technique used commonly in rock songs? Please if you have concrete examples that I could play to gain an understanding. I tried writing a song with section 1 in Bbm and shift to relative major Db in section 2 the tonic didn't shift; it remained Bbm, not Db or its 5th.

The reason why I'm asking is because I can write alot of cool sections but none of them go together. I'm having problems creating the 2nd and 3rd sections for all of these ideas I have. My songs take me months to finish and I need to speed this process up. The chorus and the bridge are the most difficult part especially the bridge.

Give us an example of one of your sections (i.e. I, IV, V, II).

I, I, VII, I, is the progression of the cool part. Its in a minor key and I'm trying to go to the relative major key. I was trying to force this part into the key of Db with a counter harmony but that didn't work either.

So like Am, Am, G7, Am?

If you want to shift to a major tonality at a certain part I would go to something like C, F, G.

would an effective cadance smooth out the transition from section 1 to 2 or would it require modulation? I like contrast but I also like it to flow smoothly.

What do you mean by modulation? Because you're not modulating at all. It's the same key . . . you're just shifting the tonic to the major.

By the way, the tonic is usually the note/chord that you begin the progression on. So if your thing goes F#m, D, Bm, A then you know it's in F#m right off the bat.

Here's a simple punk/rock progression from an old band I used to play in. The verses were in major - A, D, E. Then on the chorus it would go to F#m, D, Bm, A. Try playing that and let me know what you think. Feel free to jazz up the chords a bit - Amaj7, Dmaj7, E9 (repeat) - F#m7, Dmaj7, Bm7, Aadd2. I dunno, something like that . . .

You will notice when you go to the F# the whole feel of the progression will change to minor.

I didnt try to play the punk song yet. Im going to after this post.

The tonic is certainly Bbm in the first section, and Db in the second. I did figure out how to shift the tonic. I was unclear by not stating this in my last post, sorry. I used a I, IV, V progression in the second section. I was not happy with the way it sounded, and heres why.

The first section has an emo feel to it (its not emo.) When going into the second section it sounds harshly happy (the tonal center is very strong in the first section.) There is way to much harmonic contrast.

This is why I was asking about modulation, or cadences. Now I no nothing about cadences with the exception that they are some sort of tool for ending things. So what I think I really need to know at this point is this: Is a cadence an effective tool for what I am trying to do, or do I have to use modulation to change the mood of the song seemingly unoticeable.

When I played it the first time I played It with traditional chords. The chorus did sound minor indeed except when it went to A, to me it sounded as if it was in the major scale again. However when I played it with dominate 5th chords and using the higher octave of E Fm the chorus seemed to remain minor. I was wondering if the bass notes had something to do with the difference that I heard. The transition was pretty smooth between the two. It was very resolved. Unfortunately my song must stay tense until the end of the 2nd section or it will not make sense.

In that progression, the main riff (A, D, E) was up at the 5th and 7th frets. Then on the minor chorus it dropped down to the 2nd fret for the F#m barre chord. So this change in bass notes really helps alter the feel of the song.

Another thing that will really alter the feel of the background progression is what kind of lead or vocals are over it. If your lead is in the A Ionian scale for the main riff, but then starts doing something in F# minor pentatonic for the chorus, this will help out a lot.

As for cadences, this is the type of theoretical stuff that's not very practical. As far as I know a cadence, per se, is just some sort of melodic way of ending a particular section of music. So yeah, you could come up with some sort of transition there. On my riff, if you played a transition or cadence at the end of the verse that went from IV to V7, before going to the minor, this might help ease that change.

Sometimes you just have to play what sounds good and don't worry about theory.

By the way, I screwed up. That rock progression is supposed to go like this - A, D, E on the verses (x4) and F#, D, B, E on the chorus. The E really helps it resolve back to the F#.

And there are a few transitions - the last repetition of the verse riff goes like this A, D, E, B(2nd fret), E (open). The B and E go for one count each or something like that. The last repetition of the chorus goes like this - F# (2nd fret), D(5th fret), B(2nd fret), D(5th fret), E(7th fret). (half counts again on the last D and E). Then back to A for the verse. These are all power chords of course.

Ok, so the minor part is I I VII I and you want to go to the relative major.

One thing I should clear up before showing you how it might work is when you use the natural scale to build a chord progression, it's going to be hard to hear a clear tonal shift because the natural minor scale is just a mode of the major scale. That's where the harmonic minor scale comes in.

Back to your question. What you could do is this.

Play the Bbm Bbm Ab7 Bbm chord progression, and on the last time play Bbm Bbm Ab7. Don't go back to Bbm, instead suspend the Ab7 chord, and when you want to change to the major sound. Resolve to Dbmaj. So it would be.

| Bbm | % | Ab7 | Bbm | (repeat 3 times) | Bbm | % |Ab7 | % |Dbmaj ...etc. |

As for connecting sections. Try working on just one aspect at a time.

To change the rhythm, play though the first section you have. At the end hold out the chord, but play it with a different rhythm when you want the go to another part. Don't worry about the melody or fills. Once you got the rhythm change you want. Use the rhythm you got and work on the next section, using the rhythm.

To change chords in sections, use cadences. The above examples is this type. Ab7 to Dbmaj is a major cadence. To preform a cadence the chords move either a fourth (Ab - Eb) or fifth (Ab- Db) away. To move to a minor section, the domiannt chord of the major key (in Dbmaj, the Ab7 chord) moves up a second. Ab7 to Bbm.

For parts that are a far contrast, end the first part on a weak beat. Then start the next part on the following strong beat.

Start by writting simple songs, I know you probably want to write complex stuff, but you have to start somewhere. Plus you will probably be surprised how far a simple song will go. the more songs you complete the better you'll get, if you stay on one song to long you won't get much done.

Another thing is to listn to your favorite songs, listen to them and rewrite them. What I mean is listen to the song all the way through and put your own ideas to it. Alot of songwritters start out this way, because it's the best way to learn song structure, and it opens you up to alot.

As reassurance, Beethoven would work on a song for months before calling it finished. Your not the only one. ;)

THanks I think that that will be very helpful information. However, when defining a strong vs. weak beat would this be equivalant to saying a down v.s an up beat.

Originally Posted by: HambergTHanks I think that that will be very helpful information. However, when defining a strong vs. weak beat would this be equivalant to saying a down v.s an up beat.

yeah, like in 4/4. one would be a strong beat. Instead of ending on one which you will be compelled to do. Ending on a weak beat (2 or 4) gives the impression the music is not over or unfinished, plus the rest before the next strong beat allows for some breathing or adjusting time between contrasting parts.

Although you shouldn't use this tool more than once in a song. I've found it a good tool for the chorus to bridge (breakdown) move because to me those parts are usually the most contrasting.

NTM is in da house! :D

I would have moved onto another song by now. Thats what I usually do. I've deleted so many ideas from my 4 track lol. This idea, however, has alot of potential in it, and I need to work it out to be the best song that it can be.

I've worked out some of the contrast using a melody. Although it still needs some attention. Aside from that, the biggest problem at this point is that the 2nd section is in double time harmonically. I just now realized this. I know how I'm going to bring it back to into the first section from the second, so thats not a problem. What I need to know is if a cadence (I still don't understand cadences, but no need to explain again. I won't figure it out until I try to play one.) is the approprate tool, or what is to bring a new section into double time. I was thinking simply a drum fill, but with my drum machine this is somewhat impossible to test. Am I just going to have to resort to trail and error? Also If a cadence is part of a repeating section is it then ok to use it twice in a song or is it still considered incorrect application.

A cadence by its musical term, or better yet, it's purpose is to end what you are playing. In a traditional sense, the last chord of a musical section is the fifth chord or the root chord. I'm not saying you must end with one of these chords, but it is one of the most useful and common ends to this.

You'll definitely go through trial and error, but generally listen for what works for you. No theory can tell you how to right your song, but it can give you ideas and possibly things to better enhance your songs quality, or even things you may not of though of.

Yeah you can repeat a cadence in a song many times, the one you want to save for the end is the perfect cadence V-I, when both chords have the root in the bass and the highest note in both chords are the root of that chord.

Example:

In C major, a chord sequence like G (323003) to C (x3201x).

The part where I was saying not to do so more than once is a song is the stop one section on a weak beat, and change to a contrasting part on the following strong beat.