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Topic: Key Change Question, help!!! |
Andy Schick
From:
Kingston, Ontario, Canada
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Posted 11 Jun 2003 5:25 am |
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What would be a nice passing progression to move a key down (half or a whole tone) for a ballad. eg.... singer can not move up but the song requires the move at the end of the steel break for feel. This was just a thought.
Thanks in advance for any suggestions.
Andy
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John Lacey
From:
Black Diamond, Alberta, Canada
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Posted 11 Jun 2003 5:40 am
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| Andy, I always try to think of the 5 chord of the new key as being just before the 1 chord of the new key. It's usually the most definitive way of transitioning. If you were in G going down to F and you were playing a D chord just before the transposition, maybe go down chromatically D,C#,C, then C would be the new 5 chord of the key of F and you should be set up for the key of F. Of course this would depend on if there was a 5 chord just before the transposition. If not and the song stays in the 1 chord in G you could go 2m-5-b5-4-or Am-D-Db-C with C being the 5 chord of the new key. There would be 2 beats on Am, then one beat each on D and Db. I hope this wasn't too obtuse. |
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Rainer Hackstaette
From:
Bohmte, Germany
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Posted 11 Jun 2003 6:00 am
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Andy,
I'd start the song a step lower and then move up to the original key after the break. Going up always sounds better than the harmonic contorsions you have to go through in order to move down IMHO.
Rainer
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Remington D-10 8+7, Sierra Crown D-10 gearless 8+8, Sierra Session S-14 gearless 8+5, '76 Emmons D-10 8+4, Peavey Session 400 LTD
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Joey Ace
From:
Hamilton, Ontario, Canada
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Posted 11 Jun 2003 7:05 am
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John's advice is exactly what I would have offered.
I scratching my head trying to think of a well known song that modulates down.
Can anyone name one?? |
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Larry Bell
From:
Englewood, Florida
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Posted 11 Jun 2003 7:07 am
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There are upward and downward modulations in Ray Price's version of 'Faded Love' (maybe in the Wills version(s) too), as I recall. It's just a chromatic move (D, Eb, E or vice versa)
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Joey Ace
From:
Hamilton, Ontario, Canada
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Posted 11 Jun 2003 7:20 am
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I do remember a Kim Mitchel rock song that modulated up for the guitar solo only, then returned to the original key for vocals.
It was effective in making the solo stand out. |
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Tony Harris
From:
England
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Posted 11 Jun 2003 8:24 am
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| Remember the Beatles' "You're Gonna Lose That Girl"? It's in E, but by the end of the middle section has ended up in F and has to modulate back DOWN again to E. Very unusual. |
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richard burton
From:
Britain
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Posted 11 Jun 2003 11:36 am
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| If, say, the song is in G, try this sequence: G9(4 beats), C6(2 beats), C9(2 beats) F, then rundown four single notes C B Bb A.....Your all ribbons and curls, ooh what a girl....... |
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Roger Snively
From:
Washington C.H.,Ohio USA
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Posted 11 Jun 2003 11:58 am
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| Hey Joey, How about Conway's "How I'd Love To Lay You Down"? Straight down-mod change seems to work there. |
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Joey Ace
From:
Hamilton, Ontario, Canada
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Posted 11 Jun 2003 2:57 pm
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Good one, Roger!
That song is in D, modulates a Whole Tone down to C, then modulates ANOTHER Whole Tone down to Bb.
I knew there were some examples.
They're rare. |
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John McGann
From:
Boston, Massachusetts, USA * R.I.P.
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Posted 11 Jun 2003 3:10 pm
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| You're Gonna Lose That Girl doesn't go to the key of F really- the verse is in E, the bridge goes to the key of G ( I IV I IV or G C G C) and the F is just one chord (you could call it bVII) Theory-wise a single chord rarely defines a key...If you were to solo on that F you'd probably want a B in the scale since the surrounding keys of E and G both contain B rather than Bb from the key of F. [This message was edited by John McGann on 11 June 2003 at 04:12 PM.] |
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