Resourcefully Changing Keys

Bill Hankey · From: Pittsfield, MA, USA

Why are songs written in designated keys? Wouldn't versatility in key change management, improve a player's overall sound?

David Mason · From: Cambridge, MD, USA

Country and rock players are somewhat deviant among modern musicians in that they often don't use written notation to communicate and learn from, notation which is necessarily key-specific by nature. Surely most madrigal and roving minstrel musicians in medieval Western periods learned by ear, but for the past few hundred years reading & writing music have been crucial also. In order to even be employed in the big band era, it was a common talent for jazz horn players to be able to transpose charts from key to key in their head, instantly - any musical skills are/can be additive, not limiting.

I think the singer's range usually dictates the key a modern song is played in - bands and producers very often change the keys to accomodate the best range for a singer. This isn't a problem for the studio & stage musicians who get the (repeated) calls - sometimes the singer is banging cowboy chords on an acoustic with a capo on it, but they never boost that through the P.A. anyway.... Smile

Tony Prior · From: Charlotte NC

It has always been my understanding, as limited as this may be, that a song with a VOCALIST is recorded in the KEY that brings out the BEST quality of the vocalist.A song with a singer is about the vocalists performacne, or at least it is supposed to be.

Instrumentals , although many folks stick with the stock keys, E, A, D etc..the player should consider the tonality and intonation of the Instrument for the best fit..example, Buddy E9th Danny Boy in F...brings out the great low end of the E9th tuning and the tonality associated with the Steel he was playing...it became a reference, not just for the playing but for the overall sound...

OR we could just write 50 songs that sound exactly the same and play them all in A like Chuck Berry !

A is good....

tp

Ray Minich · From: Bradford, Pa. Frozen Tundra

Pete Finney · From: Nashville Tn.

Here's a previous thread on this subject:

http://bb.steelguitarforum.com/viewtopic.php?t=56141&highlight=

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Dennis Coelho · From: Wyoming, USA

The particular key that a song is published in, especially if it is published in a fake book, or similar collection, has more to do with saving printing space on the page than any other factor. Publishers choose a key that allows as much of the melody line within the staff as is possible, thereby allowing more songs per page.

Sometimes, it is possible to get the original key within the staff, but that is just a coincidence.

Dennis

basilh · From: United Kingdom

With regard to keys, Personally I think if you stray too far from the written key, you tend to loose the composer's desired effect, and whilst some do just that, I would prefer that those who do, would write their OWN songs rather than TRYING to re-write someone else's.

We do have a duty to history to hand down to others the CORRECT versions of tunes/songs that we play.
I will probably offend those who use improvisation as an excuse for not being correct with the melody, but those of that ilk do exist, unfortunately.

I hate the bastardisation of definitive versions by wannabe 'Jazz' players.. with the excuse of improvisation used for not playing the melody.. those who refuse to follow the long established protocol of "playing the melody once through, BEFORE improvisational jiggery pokery sets in !!
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Bill Hankey · From: Pittsfield, MA, USA

Thanks for the replies, and the good input that includes the mad rush for capos at the mention of sharps and flats. I remember a particular band leader who remarked about capos one evening in New York State, at a country gig. He mentioned how the capos fly out when Bb, G#, or Eb are used to "fit" the singer's pitch. Pitch was never a problem for Skeeter Davis or Anita Carter, but for some, a half tone could make a melody more manageable. This thread's purpose is for calling attention to advantages that certain keys offer, by their pleasing pitch ranges. The quality of vibrations may very well be determined by the length of string between the bar and the bridge. The 6th and 7th frets have proven to be better access locations, where my interests are reinforced by centering melody lines around those two frets.

Alan Brookes · From: Brummy living in Southern California

While I think transposing classical music into different keys to suit the instrument (and I'm particularly concerned about the rewriting of lute pieces for guitar) can change the whole timbre of the music, with non-classical music I would rather hear someone change the key than strain to sing out of their vocal range.

You can sing any of my compositions in any key you want...

Bill Hankey · From: Pittsfield, MA, USA

I read Pete Phinney's reference of an earlier topic written by Joe Long. After reading part of the first page, I've concluded that it's hard to "cap" off a thread because other threads bear similarities to subject matter. Life is full of similar situations, whereby survival of the fittest still stands as a guideline to success. Many difficult and obtrusive obstacles may enter one's life, whenever that person tries to expand interests in achieving goals. A smoother transition into a more active concern with unfinished business, can be realized, if there is proper forethought prior to engaging oneself in a proposed activity. On a different matter, I did a double take at Dave Mason's alluding to someone "banging" out cowboy chords. It's interesting to see this in print, as my memory takes me back to an individual who uttered one evening, the phrase, "Three Chord Charlies." Why Charles took the hit, I'm sure was merely for effect, much like the changing of keys by modulations. All in good fun, but still it would be wise to be prepared for the underdog who may knock your socks off with a catchy rhythm, that defies emulation. Usually, it's a good idea to expect a new twist in mannerisms whenever getting involved with the unknown.

C. Christofferson · Posted 8 May 2007 12:20 pm

As a listener, it's quite ear catching when a band cuts loose on a song that includes a flurry of key changes. Key changes between songs is also something probably not without useable effect
Is anyone out there doing this:? Back in my power trio days, in order to aid (my) singing, the whole band tuned to Eb (or D# for those of you who prefer caviar to pork and beans). But i think it also may have given the band a unique-ish sound at the subconscious level -the audience being used to the key/tuning E and now lower frequencies instead-. Also it sounded richer to me, but thats subjective.

Carroll Hale · From: EastTexas, USA

Ben Jones · From: Seattle, Washington, USA

on a six string, certain keys just lend themselves better to the physicality of the instrument IMHO. Hendrix sure spent alot of time in the key of E, lotsa stuff available to a six stringer in that key.

changing keys during a solo is a great trick, adds excitiement, dynamics..AC/DC's back in black album=key change in almost every solo

I've read people here on the forum say that on a psg certain keys are intentionally avoided due to unpleasant harmonics?

then theres the vocalists thing.

I think a key change is a good device for almost any song, just like in solos it adds a dynamic element, adds excitement, goes somewhere, etc.

Bill Hankey · From: Pittsfield, MA, USA

Proficiencies in the usages of both minor and major diatonic scales are the building blocks of entertainment. Key changes offer many advantages in a more relaxed style of playing. Chromatics found in the E9th tuning further the optimizing values of melody lines. The nonharmonic tones found in the chromatic scale of 12 notes, enables a musician to limit the gymnastics of colorful maneuverings. Stringed instruments differ in response values. When comparing the 6 string Spanish guitar to a 10 string steel guitar,
just a few seconds of deliberation, should alter thoughts of equality, most convincingly. To effect either potential in a musical sense, one must rely on related techniques, similar, in producing a wave of pleasing tones. Angling in on specifics, would direct attention to the bar "slurs" for example, while focusing on the steel guitar.
Augmenting the potentialities of tactical maneuverings will produce profound sequences of desirable effects. The "six" string stands for a rugged challenge when each aspect of effectual proficiencies have been taken into account. A melody is "just" a melody, if technical skills are lacking in its presentation. Singers who possess similar abilities in voice control, produce audible proof, that pleasing tones casts immediate remedial responses in attentive musical appreciation. Versatility in approaching notes of diatonic or chromatic scales is merely scant engendering. The icing lies just beyond formulas of basic approaches to resounding tones.

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