I'm new to this forum so i apologize if i have missed this thread if it has been written before. Me and a buddy have been writing some songs, usually metal-based, and we've found that they have all been in the same key! I never find it appropriate to change key, unless i'm going for a completely abstract (at least that's what it sounds like to me) sound. Recently we have been sort of forcing minor, which has proven pretty difficult, yet rewarding. Any suggestions to help break the cycle?
Breaking Key, stuck in a rut.
Hello,
I'm new to this forum so i apologize if i have missed this thread if it has been written before. Me and a buddy have been writing some songs, usually metal-based, and we've found that they have all been in the same key! I never find it appropriate to change key, unless i'm going for a completely abstract (at least that's what it sounds like to me) sound. Recently we have been sort of forcing minor, which has proven pretty difficult, yet rewarding. Any suggestions to help break the cycle?
I'm new to this forum so i apologize if i have missed this thread if it has been written before. Me and a buddy have been writing some songs, usually metal-based, and we've found that they have all been in the same key! I never find it appropriate to change key, unless i'm going for a completely abstract (at least that's what it sounds like to me) sound. Recently we have been sort of forcing minor, which has proven pretty difficult, yet rewarding. Any suggestions to help break the cycle?
# 1
Trying out a new key is good exercise. For metal I think E, F# and Drop D sound good.
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# 2
Originally Posted by: Neal WalterTrying out a new key is good exercise. For metal I think E, F# and Drop D sound good.
With the occasional 'A' for good measure, perhaps?
# 3
Bear in mind, one of the reasons for writing in a particular key is to keep the song within the vocalist's range.
You might want to try playing some of your songs at rehearals using capos to hear how it sounds in a higher key. You might find that it makes a difference, and you might find that transposing your songs to a higher or lower key only makes them higher or lower, but not really different.
As long as the intervals sound good, and the melody sounds good, and the singers can hit the high and low notes, transposing into different keys shouldn't make that much different.
On the other hand, alternate chord voicings can make a big difference, even though you stay in the same key.
You might want to try playing some of your songs at rehearals using capos to hear how it sounds in a higher key. You might find that it makes a difference, and you might find that transposing your songs to a higher or lower key only makes them higher or lower, but not really different.
As long as the intervals sound good, and the melody sounds good, and the singers can hit the high and low notes, transposing into different keys shouldn't make that much different.
On the other hand, alternate chord voicings can make a big difference, even though you stay in the same key.
# 4
Guitarists tend to write and play in certain keys. This has to do with ease of use of open strings. E, A, G, D, seem to be the most common keys for guitarists. However, before we go guitar player bashing keep in mind that Pianists, and Woodwind players tend to prefer keys such as F, Bb, Eb, and Ab. This has to do with fingerings required to play in these keys. Most vocalists also have keys within certain range that they prefer. If you tend to work in certain keys it doesn't mean that you aren't proficient on your instrument. You are simply sticking to your comfort zone. Breaking out of "your zone" is a great way to find new sounds and spark creativity.
Here a few tips:
1. Instant key change. Just add Capo! Place a capo at the first fret and you are instantly in whole new key. There is really nothing more to it. Simply play your riffs etc… they way you usually do. This is a great way to accommodate a vocalist’s range and still have access to all your favorite open string riffs and licks.
2. Alternate tunings are another option. By simply retuning one string you will find a whole new world of sounds, riffs, licks, and songs. “Drop D” is the most common alternate tuning of this current generation of rock guitarists.
Keep in mind that just because you are playing with the guitar tuned to drop D doesn’t mean that your song/riff has to be in the key of D. There are other ways to utilize this tuning. Start your Riff or chord changes at the 2nd fret. This is E… You now have “room” to move a whole step lower. This opens up all sorts of new possibilities. But wait! Now we’re back to the key of E again. No problem. Start your riff/chord changes at the third fret. This makes F your home base. You can descend an entire step and a half now and that low D note is diatonic to the Key of F. These waters are definitely less traveled than E or even D for most rock guitarists.
Of course drop D is only one of about a thousand tunings you could use. Tune the guitar to a power chord. For instance (from low to high) E A E A A E. By doing this you will find all sorts of very useful sounds by simply adding or subtracting one note.
3. If you don’t want to have to think about retuning the guitar or you’re too broke to by a capo, try taking your favorite riffs/songs and playing them up or down one fret. What you hear my not be pleasing to your ear at first esp. if your riff uses open strings. That’s okay…we are looking for new sounds. Take time to listen to the “intervallic” differences you are hearing. Allow yourself to absorb these sounds. Once you are comfortable try adjusting your riff by one note. You may also want to modify the phrasing. You will have to experiment but there are rewards to this approach.
4. Eliminate open strings completely. By playing fretted notes only, the key of the riff/song becomes a much less significant factor. Start by transposing some of your favorite songs and riffs into “fretted only” versions. You must discipline yourself not to revert to open strings. This may be difficult at first. Stick with it. It will get easier the more you do it. You will find that very often a certain note may require an impractical finger reach. In these cases substitute this note with a fretted note in a different octave or if this is not practical pick a note that sounds good. Doing this may cause you to want to adjust other notes as well. Adjust the entire riff if you like. Before you know it you will have a killer riff in some key like Bb and it’s all your own. I think that you can see the benefits here.
Doing just one or two of these exercises will help you to see the neck in a totally new way. This will lead you to many new sounds that you would not find by sticking to you comfort zone.
Happy Jamming!
Lou
http://www.yourguitarist.com/blog
http://www.LLStrangelove.com
Here a few tips:
1. Instant key change. Just add Capo! Place a capo at the first fret and you are instantly in whole new key. There is really nothing more to it. Simply play your riffs etc… they way you usually do. This is a great way to accommodate a vocalist’s range and still have access to all your favorite open string riffs and licks.
2. Alternate tunings are another option. By simply retuning one string you will find a whole new world of sounds, riffs, licks, and songs. “Drop D” is the most common alternate tuning of this current generation of rock guitarists.
Keep in mind that just because you are playing with the guitar tuned to drop D doesn’t mean that your song/riff has to be in the key of D. There are other ways to utilize this tuning. Start your Riff or chord changes at the 2nd fret. This is E… You now have “room” to move a whole step lower. This opens up all sorts of new possibilities. But wait! Now we’re back to the key of E again. No problem. Start your riff/chord changes at the third fret. This makes F your home base. You can descend an entire step and a half now and that low D note is diatonic to the Key of F. These waters are definitely less traveled than E or even D for most rock guitarists.
Of course drop D is only one of about a thousand tunings you could use. Tune the guitar to a power chord. For instance (from low to high) E A E A A E. By doing this you will find all sorts of very useful sounds by simply adding or subtracting one note.
3. If you don’t want to have to think about retuning the guitar or you’re too broke to by a capo, try taking your favorite riffs/songs and playing them up or down one fret. What you hear my not be pleasing to your ear at first esp. if your riff uses open strings. That’s okay…we are looking for new sounds. Take time to listen to the “intervallic” differences you are hearing. Allow yourself to absorb these sounds. Once you are comfortable try adjusting your riff by one note. You may also want to modify the phrasing. You will have to experiment but there are rewards to this approach.
4. Eliminate open strings completely. By playing fretted notes only, the key of the riff/song becomes a much less significant factor. Start by transposing some of your favorite songs and riffs into “fretted only” versions. You must discipline yourself not to revert to open strings. This may be difficult at first. Stick with it. It will get easier the more you do it. You will find that very often a certain note may require an impractical finger reach. In these cases substitute this note with a fretted note in a different octave or if this is not practical pick a note that sounds good. Doing this may cause you to want to adjust other notes as well. Adjust the entire riff if you like. Before you know it you will have a killer riff in some key like Bb and it’s all your own. I think that you can see the benefits here.
Doing just one or two of these exercises will help you to see the neck in a totally new way. This will lead you to many new sounds that you would not find by sticking to you comfort zone.
Happy Jamming!
Lou
http://www.yourguitarist.com/blog
http://www.LLStrangelove.com
# 5
Great advice Lou! I'm writing something in E minor currently. I programmed it into my sequencer that I control my synthesizer with. I think writing music away from the guitar is a good way to experience other keys.
And changing the voiceings is also a great tip! You can get a lot of mileage out of a simple chord progression that way.
And changing the voiceings is also a great tip! You can get a lot of mileage out of a simple chord progression that way.
# 6
Another method is to simply change the key of something you have already. Is anyone singing at this point? If you feel you are in some sort of rut, take something you have already and modulate it up a half step, a whole step, etc. This may help you in exploring new ideas and perhaps you will discover something unexpected as a result.
As stated above, most people gravitate towards a certain key simply because it is a comfortable range and yes; the guitar gravitates towards keys such as C, G, D, and E. Dropped D is also a great tool, and below is a tutorial I did on Dropped D styles that use metal. Let me know what you think;
http://guitartricks.com/tutorial.php?input=828
As stated above, most people gravitate towards a certain key simply because it is a comfortable range and yes; the guitar gravitates towards keys such as C, G, D, and E. Dropped D is also a great tool, and below is a tutorial I did on Dropped D styles that use metal. Let me know what you think;
http://guitartricks.com/tutorial.php?input=828
Douglas Showalter
# 7
