Timeline for Changing key in a song convincingly
Current License: CC BY-SA 3.0
34 events
| when toggle format | what | by | license | comment | |
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| Jun 11 at 5:05 | vote | accept | atoth | ||
| Sep 28, 2023 at 2:27 | answer | added | ttw | timeline score: 2 | |
| Nov 28, 2019 at 0:00 | comment | added | atoth | Finding a video that goes through such modulation (posted below as an answer) I just want to briefly reflect on the fact how so many jazzists are focused on chord progression, missing voice leading, missing melodies, going for an overly simplified explanation using roman numerals. Ignoring voice leading would make those chord progressions awkward or "meh". More in depth: youtube.com/watch?v=BEWQNKbXHQk | |
| Nov 27, 2019 at 23:52 | answer | added | atoth | timeline score: 0 | |
| Aug 12, 2018 at 15:27 | answer | added | Laurence | timeline score: 0 | |
| Nov 27, 2017 at 22:10 | review | Close votes | |||
| Dec 3, 2017 at 3:01 | |||||
| Nov 27, 2017 at 21:05 | answer | added | user45784 | timeline score: 0 | |
| Nov 27, 2017 at 14:58 | comment | added | Basstickler | One thing I remember from college was specific to classical music and modulations. The teacher suggested that within a circle of fifths approach to modulation that you go one past the target key to make it more convincing. So going from E minor to A minor, you might use an extended circle of fifths progression to get there, then move again to D minor, iv of the new key, often times using secondary dominants, such as F#7-B7-E7-Amin or A7-Dmin-cadence to return to Amin. I do recognize that this is similar to a II-V-I but it is from classical. I unfortunately do not have any examples for you. | |
| Nov 27, 2017 at 11:52 | answer | added | Ben Hughes | timeline score: 0 | |
| Nov 27, 2017 at 4:01 | answer | added | Phanes Erichthoneus | timeline score: 1 | |
| Apr 13, 2017 at 12:41 | history | edited | CommunityBot |
replaced http://music.stackexchange.com/ with https://music.stackexchange.com/
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| Aug 19, 2016 at 12:04 | comment | added | atoth | Guys, who are suggesting chords - how would you do it with for example a flute? You don't have chords but you have the clear sense of key which you want to modulate to an other one. | |
| Aug 12, 2016 at 19:53 | comment | added | Kellen Stuart | Secondary dominants all day or perhaps a pivot chord. Consider altering the tonic to an E7 instead of a em - this way you can use the E7's dominant function to pivot you into am effectively. You will have to use the E7 on a rhythmically strong beat for this to be effective and you must proceed with a different chord than em | |
| May 18, 2015 at 13:38 | history | tweeted | twitter.com/#!/StackMusic/status/600294391111151616 | ||
| May 15, 2015 at 21:07 | comment | added | Caleb | @atoth You could try some fully-diminished 7th chords, Augmented-sixths, Neapolitan sixth/Tritone Substitution, and some cadential 6/4s. I've also found trying out new scales to work fairly well in trying to modulate. You should check out the modes of the Melodic Minor. My personal favorite is the Mixolydian b6. | |
| May 15, 2015 at 2:21 | history | edited | Dom♦ | CC BY-SA 3.0 |
Tags and small edits in spelling/wording
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| Jan 18, 2014 at 10:29 | answer | added | Tim | timeline score: 3 | |
| Jan 16, 2014 at 14:55 | history | edited | atoth | CC BY-SA 3.0 |
Added update 3, regarding breaking down the question to specific, smaller ones.
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| Jan 16, 2014 at 14:36 | comment | added | atoth | You are right, the question needs rewording. You can put on-hold this one, until I figure out the proper. | |
| Jan 16, 2014 at 14:27 | comment | added | Shevliaskovic | The second update is off topic because it's asking for a list. Maybe you can do what @Dom said and break this question into smaller ones that would be simpler to answer. I'm really confused with the question as it is now :P | |
| Jan 16, 2014 at 14:03 | comment | added | atoth | I agree, that it's getting broader, than I suspected. I need concrete examples to ask more specific questions. Anyone can recommend well-known classical pieces that seamlessly modulates from one key to the other? | |
| Jan 16, 2014 at 13:53 | comment | added | Dom♦ | If it's complex, it should be broken down into simpler questions. It will be more useful to you and everyone else in the future because people can go more in depth about the simpler questions instead of just touching on them in this question. | |
| Jan 16, 2014 at 10:38 | comment | added | atoth | Regarding the "how many bars needed" question, it was just one example, how complex this question can be, as proportions can be as important than finding common chords. | |
| Jan 16, 2014 at 10:26 | history | edited | atoth | CC BY-SA 3.0 |
Added update 2 for narrowing the question.
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| Jan 16, 2014 at 10:18 | comment | added | atoth | That's why I ask for a bunch of ideas and working musical examples from many styles. Without changing the key, I've done transition from A to B many times. I find a LOT harder with a key change as well... | |
| Jan 16, 2014 at 8:39 | comment | added | Shevliaskovic | Also, note that a theme can belong to two different scales. | |
| Jan 16, 2014 at 0:38 | review | Close votes | |||
| Jan 17, 2014 at 19:55 | |||||
| Jan 16, 2014 at 0:23 | comment | added | Shevliaskovic | What you're asking might be way too broad. I don't think there's any 'rule' that determines how many bars should be between the two themes. I could wait 2 bars,you could wait 4 bars, some other guy could wait 10 bars etc.It depends on the composer. Also, the 'strategy' part, would also depend on the composer. For instance, I would gradually build up to the different rhythm | |
| Jan 15, 2014 at 23:02 | comment | added | atoth | The question is about "How can I define a new section in my song in a different key that sounds like a logical transition, from A to B". | |
| Jan 15, 2014 at 22:58 | history | edited | atoth | CC BY-SA 3.0 |
added 657 characters in body
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| Jan 15, 2014 at 21:38 | comment | added | Shevliaskovic | Isn't the question "How do I go from a scale to another one without sounding that I play random chords? "? | |
| Jan 15, 2014 at 21:25 | comment | added | Basstickler | The most effective approach will likely be based on which genre you are writing within. A Jazz modulation certainly occurs in a different way than a Classical one, though they may be similar. A lot of Rock music is Modal in nature and modulating within a Modal texture will have different methods than Tonal music. If you can let us know a genre and/or if it is Modal or Tonal, you will probably get an answer that better suits your needs. | |
| Jan 15, 2014 at 20:55 | answer | added | Shevliaskovic | timeline score: 15 | |
| Jan 15, 2014 at 20:24 | history | asked | atoth | CC BY-SA 3.0 |