Key Changes

[djelf]

OK, this is inspired by a post on the recent "how to write a bridge" thread... I understand a bare minimum of jazz theory on key changes (which seem to boil down to what sounds/feels right anyway), but can we have a discussion of options for key changes from various major/minor/mixo/dorian situations? Especially as relating to rock. The ones that I have deciphered in other people's writing so far seem to fit a few forms:

 

- changing from major feel to minor, same letter (or vice versa, ex. Am->A progression)

 

- relative minor/major

 

- shifting up a full step in key, esp. in major, seems to give a kind of growth in intensity, good for a gospel-type last chorus or coda section

 

- going with a chord, not the root of the starting key, and staying with it for long enough that the center shifts to that chord, and going off of that (ex song in A, and at a given point hitting Em, and riding that into an Em section)

 

what to you think of these? what others are you aware of? Any tricks of harmony/ theory/progression (i.e. II-V-I shifts) to use as guides for finding fruit-bearing options?

[Sonic Boy]

I dont know much about theory stuff so I cant help you but I understood your examples.

 

Sometimes what Sonic Youth does to completely change the key is just slowly dissolve and blur the song in feedback and white noise, then slowly get it all together again but in a completely diferent key and rithm... if you just dissolved the song in 4 minutes of noise... then any clear sounding chords will feel like a blessing to the listener no mater what key they are on

[djelf]

that explains their concerts!

[fingerpicker]

The first you mentioned is going to the "parallel minor'

 

Example from E major to E minor

 

 

The next is "relative major" Or "relative minor"

 

Example from C to A minor --to reach this go up six tones from the original key. In this case C is the key, so it is counted as 1.

 

Going up a whole tone was also mentioned.

Example from C major to D major

You can also go up a half step

Example C major to C# major

 

Here is something not mentioned:

 

You can change tonality, or key, to The "five chord"... To find the five chord count up five tones from the original key, like we did to reach the relative minor above.

 

Example: C-G-C-am-D7-G

 

This chord progression wil get you from C to G major.

 

 

You can actually go to ANY new key if you set it up right. In the example above the A minor is common to C and G. This would be called the "pivot chord" which sets up the D7 (The "five chord" in G) ...If you don't get it post a question and I'll try to be more specific. I love music theory!

 

Here is an example going to th "four chord":

 

C-G-C-F-dm-edim-F-Bb-F-C7-F

 

Here the d minor is the pivot chord.

[Wayrockin1]

Another cool way to get to the IV is just to play v7 , I7, IV. That would be Gm7, C7, F.

 

Another popular bridge would be to just jump to the bIII. Treat that as the new key and when you're ready to get back to the original key, play bVI, bVII, I. In C, you would jump to Eb, and come back Ab, Bb, C. (or Ab, Bb, G7, then C)

 

Good thread! Who's next?

[ninjaaron]

why hasn't any one mentioned seconday dominents.

[fingerpicker]

Ninja,

I think you mean Secondary Dominants. Look at one of my above progressions. The D7 IS a secondary dominant.

 

A secondary Dominant is basically a 7th chord that resolves to a 1 chord, but the 1 chord is in a new key.

like this:

C-G7-C-am- D7-G

 

D7 is the sec.dom.

G is the new 1 chord.

 

The technical definition:

 

 

 

A secondary dominant is an altered chord having a dominant or leading tone relationship to a chord in the key other than the tonic.

 

An altered chord is a chord containing at least one tone that is foreign to the key.

 

Using secondary dominants results in the tonicization of the chord of resolution.

 

Tonicization is the process of emphasizing a chord by making it seem like the tonic for a relatively short period of time. Usually this is accomplished by embellishing the chord with a chord that has a dominant or leading tone relationship to it (a secondary dominant).

 

(Hey, you asked! )

[JackSonic]

I'd read about the "parallel major/minor" , but there was nothing written about was it's used for (duh). It makes sense now: modulation. Thanks