CHANGE MUSIC KEYS HOW TO
CHANGE MUSIC KEYS FREE

Used in fusion and jazz, and some heavy metal. Listen to the first minute of The Evil Has Landed, by Testament. Stick to making modal music with this one. Locrian: A very beautiful, sad, dark and eerie scale. Used in pop, country, rock, blues, heavy metal, classical, and more. In key of C: GABCDEF.Īeolian: The natural minor scale is often thought of as the sad scale, the lowered sixth scale degree is as important as the lowered third, for creating this character. Focus on the root, 3rd, 4th, 5th and flat 7th notes in the scale (mixolydian pentatonic). Used in rockabilly, country, blues, and rock music. Mixolydian: The lowered seventh degree makes it less cheerful than the major scale. For chords, focus on the 1, 2 and 7 chords, the 5 sounds like it resets to Dmajor. Focus on the root, major 3rd, sharp 4, and P5 degrees of the scale to bring out the Lydian feel. Used in jazz, fusion, rock, or country music. Lydian: The unruly raised fourth degree in combination with the natural fifth degree (which creates stability) gives it a dreamy character. Spanish flavor and is used in flamenco music, fusion, and speed metal. Phrygian: The lowered second degree gives it a darker feel than aeolian. Used in rock, jazz, blues, and fusion music. In key of C: CDEFGAB.ĭorian: Not at all as sad and gloomy as the aeolian scale, with which it is often compared, this is due to its raised sixth degree.

Used in nearly all Western music, from classical to hip-hop. Ionian: It is the most cheerful of all the scales. Someone once described the modes this way: This will provide a noticeably different 'flavor' to your music. All it takes is two notes.įirst thing I'd suggest it to explore different scale modes within the same key. Learn what intervals make a pairing of notes sound happy or sad or heroic. As Alain from Scoreclub says (paraphrased): don't focus on writing good music focus on writing a lot of it.īut, understanding potential topics to Google is hopefully a good start!ĮDIT: It's also helpful to look into the 'feel' of certain intervals, which will influence how your melody, your chord progression, or your individual chord voicings may change a listener's perception of a piece. You're not expected to become an expert on these overnight or just by reading them.

CHANGE MUSIC KEYS HOW TO

So, yeah, get out there and look for things like chord voicings (and also look up what is meant by 7th, 6th, 9th, 11th, suspended, augmented, and diminished chords, for starters get to know the math behind the structure of them), voice leading, and how to avoid consecutive parallel octaves (or why some things, like parallel sixths, may sound 'good'). Additionally, VI-C's own Christopher Siu has probably also covered this topic on YouTube. I think Guy Michelmore posted a YouTube video not long ago on chord inversions, which could spice up your life if you're not already there.

CHANGE MUSIC KEYS FREE

There are a lot of great, free resources out there. In what way do you find it boring? What sort of topics have you covered so far? Additional chord voicings, for example? What is the rhythm behind your progressions?

With that said, the thought that staying in one key as being 'boring' is probably the most immediate thing you may want to look into resolving before you look to resolve into another key. There are a lot of YouTube tutorials out there on key changes or 'modulation.'

Change music keys