Estimated reading time 4 minutes
Table of Contents
Introduction
Tired of using the same old chords in your songs all the time? Want to create excitement in your songwriting? Adding a key change to your song can make your listeners sit up and take notice. Read more to learn about changing keys in your songwriting.
One of the most valuable devices in the songwriter’s toolbox is the ability to shift keys during a song. We do this to add contrast and interest.
It happens at transition points such as when you lead into or out of the chorus or bridge. Also, it gets used to add extra tension and energy at the coda or outro by shifting keys up by a half-step or a whole-step.
We call the process of shifting keys modulation. Basically, you have two ways to modulate to a new key center: pivot chord modulation or direct modulation.
Using Pivot Modulation to Change Keys in Your Songwriting
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C Major Key’s Chords:
G Major Key’s Chords:
Pivot chord modulation is your first strategy for changing keys in your songwriting. The pivot chord modulation reduces the impact of the shifting keys.
It adds variety without being too jarring, and it uses the versatility of the pivot chord to pave the way to the new key. You do this by choosing a chord that exists in both the old and new keys.
Example 1 and 2 (above) show the potential pivot chords between the keys of C and G major, indicated by asterisks. Any one of the marked harmonies could be used as pivot chords for a smooth and seamless key transition.
Example 3 (below) demonstrates a pivot chord modulation in action in a pop ballad piano accompaniment style. It uses the second IV chord in bar 3 as the link between the keys of C and G major.
The C major chord exists as a I chord in the key of C major, but it also exists as a IV chord in G major. By the end of the section, G major has been fully established as the new key. Typically, you would return to C major later in the song.
Pivot Chord Modulation:
Using Direct Modulation to Change Keys in Your Songwriting
The second strategy for changing keys in your songwriting, direct modulation, really grabs your listener’s attention.
With direct modulation you move straight to the new key without using a pivot chord. Direct modulation can be dynamic and ear catching and gets used a lot in rock, but it can become old quickly. Be careful not to overuse it. This example lifts the chord progression up by a whole step in the second line.
Direct Modulation:
Changing Keys in Your Songwriting: Chromatic Harmony
When you change keys in your songwriting, you have to establish the new key. Just because you use sharps and flats in your song doesn’t mean you’ve modulated, so do not confuse modulation with chromatic harmony.
Chromatic harmony consists of a chord constructed from notes pulled from another key and often gets paired with a diatonic melody. (A diatonic melody pulls all of its notes from only one key).
In the example below, the V/V chord pulls the D major chord from the key of G major. However, it never really establishes the new key. Your ear doesn’t have enough time to fully orient to the new key before the music returns to the old key. In other words, your ear doesn’t have enough time to hear the new key as “home.”
Chromatic harmony adds a touch of spice. Conversely, modulation heralds a larger contrast.
Chromatic Harmony:
Changing Keys in Your Songwriting: Incidental Chromaticism
When a sharp or flat appears in a melody, we call this incidental chromaticism. Like with chromatic harmony, you haven’t changed keys in your songwriting.
In the example below, the F# occurs only once in bar 1 and goes back to the F natural in the next bar. The F# doesn’t appear in the key signature, so we call it incidental, meaning “attendant” or “nonessential.”
As with chromatic harmony, incidental chromaticism can add a bit of spice, while not carrying the full weight of a modulation.
Incidental Chromaticism:
Conclusion
Now you know how to change keys in your songwriting, and how modulation differs from chromaticism.
Traditional music often moves to the keys a 4th or 5th above the starting key and back again. Even today these still remain common target keys. However, in practice you have a lot more flexibility than that.
I’ve already mentioned modulating by a whole or a half step, as it often gets used with direct modulation. Also, you can move to keys a 3rd or 6th away from your starting key.
These target keys can have a softer feel than keys a 4th or 5th away from the home key. In addition, you can have chains of modulating chords.
One thing to be careful of when you modulate to a new key, keep in mind your vocalist’s range. Good luck and good writing!
© 2022 Geoffrey Keith
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