4 Songs you didn't notice change key
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- Опубліковано 10 тра 2024
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📌Due to a couple of my copyright disputes being rejected on this video I had to cut out a couple of clips so sorry if that has resulted in a few weird jump cuts!
Key changes don't have to be in your face! Some of the best key changes are hidden in plain sight, so today we'll take a look at 4 songs that you may not have realised change key!
The outro music to this video is my track "Mothers Day" which you can hear in full on Spotify: open.spotify.com/artist/0wKKJ... 🎶
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0:00 Zephyr Song
1:04 Africa
1:50 Message In A Bottle
4:30 Lovefool
The "Message in a Bottle" example makes me wonder if such key changes are perhaps made to accommodate vocalists' ranges.
same with "Africa"
Police also change Key in so Lonely, songs in C but goes into D for solo and last chorus
That’s what I started thinking about several of these examples. Listen to how high the vocal goes in Africa if he actually had to sing it in that key lol
@@luke5100Yes, it it is obvious it would be out of the vocalist's range if it stayed in key.
Yah; also the producers behind the glass suggest key changes. Of the 4 originals today, "Love Fool" was the perfect primrose path.
That chromatic climb in Lovefool is the best part of the song. No wonder they kept the key change!
Agree with that, it’s an integral part of the song.
The key changed one is CURSED
@@ashwinraj5826yea it sounded like a spice girls song without the key change. Also I thought he could have held that G a little longer on the cursed version. Would have helped the transition a little.
Perhaps the reason for the key change in Africa is that moving it a whole step down made it easier to sing. Repeatedly singing the high B puts too much strain on the voice.
Yeah. I mean even the original key puts that guy’s voice way up there in his range
David hasn’t actually removed the key change on this one. He’s just replaced one key change with another. The verses themselves have a modulation in them that he hasn’t taken into account. They start in B Major, but they end firmly in C#m. So that’s the key the Chorus would be in if the verse/chorus key change were removed.
Probably not. It's just a whole step up. I think that the "strain" is just from pitching up the recording.
I was thinking the same thing
@@maxlibertor: As a baritone singer, I can tell you that whole step makes a difference. It's the only reason I can cover any Brian Johnson or Bon Scott, at this point.
Until I played it in a covers band once, I never knew the last chorus of 'Stacey's Mom' is a minor third higher than the rest.... really surprised me! I think it's because the key change actually comes in the guitar solo which distracts you, then stays in that key for the last chorus.
For me, it's more noticeable because the last chorus is right at the top of my vocal range.
I came in here to give the exact same example. Until I learned it on guitar I had no idea that it was a key change. Those last two notes of the guitar solo set it up so smoothly.
Same happens in living on a prayer from Bon Jobi
So, in the song say hello to Heaven by Temple of the dog it’s in the G major mix, Lydia it starts on G then goes to a minor D major C major the E minor.
Fire in the Canyon by Fountains of Wayne does the same thing. Once you figure it out, it's obvious, but the first time through on the bass I was like, "Oh, my fingers are two frets higher now! When did that happen?"
In my opinion, the smoothest change of key the Red Hot ever did was in Californication's solo: it moved on to the relative minor of the parallel major. It's so brilliant you don't even notice, but hits hard when the solo ends and the song returns to the verse.
Cool! I’ve never noticed that! I’ll check it out
Totally agree. It really transports you.
Another section that mesmerised me as a kid (and still does) is the outro of Sir Psycho Sexy... your brain is constantly trying to figure out the key, and it never resolves, it just keeps going like some kind of Escher staircase that has no end. Magical!
So just down a minor third?
@@mastod0n1 yep. To me it's not so much the where, but the why
I think it was Holistic Songwriting who said that John Frusciante is somewhat unique in his key changes because he doesn't lead into them. Instead, he leads out. You only notice the changes when you go back to the original key, like in Californication when the solo ends and it goes back to the minor sound
8:08 that 3D maze screensaver in the corner brings back some memories!
When it comes to key changes, Nik Kershaw is the first name that immediately springs to mind. Never noticed that the last chorus of "The Riddle" is a semitone higher than the rest of the song until I had to learn it for a wedding gig. Lots of his other songs also have loads of subtle and not-so-subtle key changes.
I love the many keychanges in 'Penny Lane' from the beatles. There are a few key changes that are obvious, but others are less obvious. The song sounds like such an innocent simple song, but is so much more complex...
Thanks!
I know that song but will listen to it again with this perspective!
Indeed. But the real doozy for key changes (or "modulations," if you prefer😉) is surely _Never Gonna Let You Go_ written by Brill Building veterans, Barry Mann and Cynthia Weil. Taken end-to-end, Barry managed to write *22* modulations¹ in there. Many of which are so cleverly done that you only notice them if you're trying to _play_ the sucker (!).
(¹The Band Geek YT video of their cover version contains a handy key-change counter, is how I know it's 22.)
@@caddelworth An example in which I wouldn't use 'modulations', most of the key changes are abrupt and not a result of a modulating tonal progression. It is quite neat, and despite having this very unusual harmonic approach and patterns, is actually very catchy and was a pop song hit.
It wasn't until I listened to '60's music as an adult that I realized virtually every song played on Top 40 radio had a really significant key change -- as you said, it was clearly about injecting energy into songs you would have to get through many minutes of commercials in order to listen to and therefore make it worth the wait -- interesting stuff David, thanks!
Funny because to my ears the key changes are noticeable, and especially the message in a bottle one, even though according to you it is supposed to be the most subtle one. Anyways I think it is a pity that nowadays there doesn't seem to be a lot of key changes in songs anymore.
The "Message In A Bottle" key change is really smart, as both C# minor and A major all pivot around E major. Sting is so good at that stuff. Even the really stark key changes in "Fortress Around Your Heart" feel really seamless.
Just love this series! I learn so much, you’re like that special teacher we hopefully all have at school at some point, thank you 🙏
Happy to help!
“Here, There, and Everywhere” is another one that’s pretty subtle
God Only Knows has gotta be up there - unsettled key, yet an absolute masterpiece 👍
Those new vocals on the C Major version of Lovefool are wildin
I know my channel is extremely Mark Knopfler-oriented, but still, one of my favourite "invisible" key changes is his version of "What A Wonderful World" he did with Chris Botti, with the arrangement coming from his keyboard player and long-time collaborator Jim Cox. While Mark's version is in the key of C Major, for the solo, it returns to the original key of Louis Armstrong and switches back to C. I wonder how many people noticed this.
2:18 Africa: theres actually two key changes: the A chord and melody are consistent with E major scale (and inconsistent with B). So from a key perspective (ignore modes), it's B to E to A, rolling perfectly along the circle of fifths.
So you could argue the subtle key changes are the ones along the circle of fifth, like in scarborough fair
There are many key changes in the song. The intro is in C#m, the verse part (repeated twice each verse) begins in BMajor but ends in C#m. This is the crucial point David’s analysis misses. Rather than removing a key change, he’s just replaced one with another. If he were removing that particular key change, he’d be transposing the choruses into C#m, not G#m
TMBG's Birdhouse In Your Soul bounces between two keys through the whole song, but very smoothly and not jarring at all.
*They Might Be Giants (not The Mighty Barry Gibb) ... for those who don't know.
Knights of Cydonia by Muse is also a great example of this, the verse melody changes key at every repeat (Em -> Cm -> Abm -> Em). It's also incredibly smooth in how its done too, especially considering how dissimilar these keys are from each other.
Yes this is like Giant Steps haha ! Amazing song
I can think of a few examples:
- La lezione (The Lesson) by Premiata Forneria Marcone
- Schwarz by Rammstein
- Plant Life by Owl City
Worth pointing out that Toto go the extent of changing the vocalist for the chorus of Africa. Paich sings the verse, Bobby Kimball the chorus. Adds to the feeling of a step change IMHO.
Walk the Line by Johnny Cash… each verse is a key change, but slips right in
Good one! A more in-your-face Johnny Cash key-changing one is "5 Feet High and Rising," which actually uses the key changes as word-painting!
In the Folsom & San Quentin version of Walk The Line, he literally practices the new key by humming a note along with the guitar, in the new key, right before each verse. It makes the key changes as obvious as could be.
Yes, good example.
In the last verse, Johnny sings an octave lower than the first verse. And if you listen to the original Sun Records version, he’s actually slightly sharp on the line « Because your Mine… »
It was too low, even for him.😊
Another thing about the Zephyr Song is how smooth the key change is BACK to the verse, as the chorus ends on A major then switches to A minor as the tonic chord of the verse. Its like by making the key change to the chorus more stark it allowed them to line up a more smoother transition back to verse again.
"Always Look on the Bright Side of Life". The key change is so subtle that Eric Idle has to shout out the words "key change!" to let everyone know it's happening! 😅
"Penny Lane" shifts down a step at the chorus as well. I stole that technique for one of my own songs to help suit my vocal range, so I wonder if McCartney and Paich did it for similar reasons.
Watch this video. somewhere in the middle, there is a brilliant explanation on what the keychanges do. It brings the song from a cheerful, to a melancholic/nostalgic mood and back to a bright new day, as is exxplained. In general a very good video: ua-cam.com/video/ZQS91wVdvYc/v-deo.html
Shifting the chords downwards in the Chorus while the melody predictably rises is used to indicate that the singer is removed from the events that he/she is singing about. This makes perfect sense in a nostalgic song such as'Penny Lane'.
I noticed. But I'm obsessed with complex harmony. It's probably the thing I'm most drawn to in music.
In my own music, I work really hard at making "strange" chord progressions sound "normal." There are all sorts of tricks for doing this that you learn over time. Obviously, you can do things like employ secondary dominants and other clever pivot chords. But the real trick, in my opinion, is having a singing melody that bridges the gap between the keys.
Love that! Same here! Check out my first ep Separate Checks on all the sites! I like to think I have some good songs with cool chords Lmk!
@@akeithing1841 i’ll give it a listen!
The Beach Boys are full of them. One of my favorites is the key change in Don't Worry Baby going into each chorus. The ii-V, but resolving to the iii (or ii of the new key), setting up another ii-V to bring us to the new key is probably one of the most clever ways to hide a truck driver key shift. Then the iv-IV7 cadence back down to the verse. So good.
I was going to mentioned Brian Wilson but you beat me to it!
Weezer's 'Undone - The Sweater Song' is in the key of Gb Major but switches to A Major for the solo.
How about a segment on songs with key changes between the intro and first verse? To me it's a stylish way of opening a song. Warning - once you've heard a few you'll be listening for them all the time! For example Everlasting love/Love affair 1960s?
There's a song, Ordinary, from the band Copeland that has its intro in F and the verse changes to Cm. It's jarring but beautiful.
Wouldn't it be nice...
A lot of songs that modulate for the chorus do that. Leave A Light On by Belinda Carlisle does that as well.
Toto’s “Africa” is actually one of these.
My favourite key changes are the most obvious - like splashing one's face with cold water. Not a fan of Diana Ross or the Bee Gees, but I really enjoy the frequent chordal disorientation of 'Chain Reaction'.
I didn't notice And I Love Her until I played it for the first time - in high school. So odd not to have caught it earlier.
Good Times Bad Times by Led Zeppelin is stealthy at changing keys. Verse1 is in E, Chorus goes into A then Verse2 is in F# and we only go back to E after the second chorus. And the song is well under 3 minutes.
Another interesting example is the refrains in Zeppelin's "In the Evening". Instead of having a chorus there's that "Oh, I need your love" refrain. It's in D, but after Verse2 it's in G and then later in the song it's in D again...
Nice! I’ve never noticed that one!
I immediately knew there was something off about the “Africa” example, because I still experience David’s modified version as a key change, despite it supposedly being a continuation of the same key. I was curious as to why.
The problem is that David’s analysis, I would argue, has missed the crucial step - a third key that always separates the B Major that begins the verses from the F#m of the choruses. That key is C#m, and it’s actually the home key in which the song both begins and ends (when it doesn’t end in a fade-out of the chorus)
The song begins straightforwardly in C#m, the intro vamping between the VI chord and the i chord (arguably stopping briefly at the v chord in between) and that exact motif reappears at the end of every verse and chorus. So we never do move directly from the key of B Major to the key of F#m. There’s always a section in C#m in between. It actually begins half-way though the (repeated) verse section, at the moment the apparently chromatic (in the context of B Major) AMajor chord is immediately recontextualised as a perfectly diatonic VI chord in a new key. This occurs on the “rises like Olympus” line, when the AMajor chord is immediately followed by C#m, firmly re-establishing the later as the tonic chord it was at the beginning of the song, aided by the vocal melody hovering around C# before resolving to it on “Serengeti”
So David hasn’t actually removed the key change, he’s just replaced one very smooth key change (to the iv of the current key) with another very smooth key change (to the v of the current key). This explains why “Africa” sticks out in the video as the only example that retains its uplift in energy even after David’s transposition. I actually think I might like David’s key change even more than the original. Somehow, it’s more arresting, lifting that extra whole tone.
But if we wanted to hear what the song would sound like with that particular key change gone, we would need to transpose Toto’s F#m chorus, not into G#m as David has done, but into C#m.
I reckon that 'climb' in Lovefool elevates it from a pretty standard pop riff with cleverer-than-normal lyrics, to a great piece of alt-pop. I'd never have thought it hinged so much on that. Great analysis.
It's remarkable that the "hidden" key change is actually one of the hooks of the song. It used to work great at student indie discos as it gives you a pause for breath before you throw yourself into the uplifting chorus.
This is one I was really asking for and appreciate thanks!!
"Lovefool" starts in A minor and modulates to A major in the chorus.
Yeah, he's making confusion with major and relative minor... that's why we should express the key in modes!
Thank you for this David. I love these subtle changes.
Glad you like them! 🙂🙂
absolutely fantastic video, the most approachable video explaining the effects of key changes in the song. thanks so much for this 🙏
Glad it was helpful!
Sweet child o mine is one I always think of for a great key change
Yeah that’s a good one!
A Man I'll Never Be by Boston has a really fluid key change in the solo (half step down).
That's a banger!
Another RCHP song with a subtle key change is Under the Bridge, it changes twice, from A, to E then back to A
Fascinating how playing an instrument in my childhood and young adulthood makes every single one of these changes very obvious to me. Not once did I NOT notice that the key changes before you specifically pointed it out. I haven't played my instrument for fifteen years or so but the musical hearing just stay with you.
I love how you were able to show how they would sound with out the key change really great thanks!
😊😊😊
I think for Lovefool it is subtle because the verse, although in C major, is interpreted in A minor. it makes it feel like it's going from A minor to A major playing with the parallel keys
I've always found the key shifts in Nik Kershaw's "the riddle" fascinating. Would love to see your analysis.
The cardigans song is graceful and perfectly serves the theme and the song with this subtle change of tone. As one would say in "Cyrano de bergerac" (I translate from French): "It looks like a peach smiling with a strawberry, and so fresh that one could, approaching it, take a heart cold!" "On dirait une pêche qui sourirait avec une fraise, et si fraîche qu'on pourrait, l'approchant, prendre un rhume de coeur!" Thank you, David, for your always fascinating videos!
The best of the best and the most interesting one as for the vid of chord progressions, many thanks!
Eagles New kid in town is one of my favorites. Like your last example, George Harrison's Something goes from C to A. Great job!
I do not have a musical ear but I had noticed the three first ones 😊. Thanks for the video.
One thing I only just realised in Lovefool is that during the "So I cry... and I beg" bits in the chorus the guitar is playing the melody from the verse in the background. Neat!
I didn’t notice it until transcribing it for solo piano!
This was very informative!
I always thought of LoveFool as simply moving from the minor (Am) to the parallel major, with the E7 acting as the pivot between both.
I thought the same.
There is a lovely and fairly subtle key change in The Carpenters "Calling Occupants of INterplanetary Craft" after Karen sings the title line for the first time and is just about to sing it for the second time. It is a fairly joyous thing indeed.
Yet another awesome video hooking me on theory. Super fun!
I love this way of teaching music. What did a song do and how would it sound like if they did something else.
I am learning so much. Now I will try playing around with different ways of changing keys. Thanks.
Love your Videos too inspire my songwriting. Thank you for your awesome Work ❤
Thanks for watching 😁😁
I've always loved the clever key change (or is it multiple key changes?) near the end of St. Pepper's Lonely Hearts Club Band -- but I don't know enough music theory to analyze it.
I think that another great exaple is the key change in the last chorus of "Latley" by Stevie Wonder, I love it. He uses a climbing bridge too, what makes it very smooth.
Beautiful Noise by Neil Diamond is an unusual one where is goes down a whole tone after the first verse.
Sad Cafe Everyday Hurts does the same, but goes up a semitone. You don't think it will happen and then it does happen, so you almost miss it.
Great video!
Message in a Bottle also has the key shift down a whole step for the outro riff - adds a soupcon of drama.
Most songs really get better with such keychanges. Pop music is just so simple that often without keychanges, it just goes on for way too long with way too little variation, it becomes boring easily.
What about songs where you don't notice a key? (I'm looking at you, King Crimson)
That would be interesting to discuss
Rush have to be worth a discussion on key changes. Also Talk Talk (not the phone company!)
What about the verses of "Just A Girl" by No Doubt, repeatedly pivoting between D major and D minor? Cory from 12tone has described this as an example of "hybrid tonality," but what do you think? Would it be one of these?
A very nice example is Roxette's "It Must Have Been Love", with a subtle key change in the middle-8 from C to F.
I've always liked the key change in And I Love Her. And also the final chorus of Livin' On A Prayer
Another good one is the intro from Wouldn’t it be nice by The Beach Boys
Very good!
Great video! One of my favorite example is Morning Has Broken by Cat Stevens, the transitions are so brilliant.
For me, in Zephyr Song the key change to the D Major gives musical imagery to support the 'fly away' lyric. If it went to the obvious Cmaj then you dont get that tonic uplift so less of a feeling of flying away evoked.
Similarly in Lovefool, I think the tonal shift fits the lyrical content of Nina's pretence that the other person loves her - she loves him, he no longer loves her, the chorus is lyrically a dream scenario, so the music reflects this.
Thank you for a great video on key changes. Actually one of the most extreme key changes I know is within the Imperial march by John Williams. When he jumps from g-minor to c#-minor without any modulationg chords in between. These keys have not one single note in common!!!!! Notice that before that, He evn jumps between g-minor and e flat minor, which is also extreme, but at least they have two notes in common... You should do a video on that as well....
I don't think those are actual key changes. It's just a highly chromatic melody/chord progression. I don't feel like the tonal center actually shifts, and it returns back to Gm in the end.
The melody kind of outlines a Gdim7 chord. The "target notes" are G, then a chromatic descend to E, then a leap to C#, then a chromatic descend to Bb. I would assume something like this is what John Williams based the melody on, and then just harmonized it with (unrelated) minor chords.
@@MaggaraMarine Yes But the chords actually change this way, So it is not only in the melody.
@@FilipSandecomposer Oh yeah. My point was just that I don't think it's an actual modulation. It's just highly chromatic harmony. A modulation would require some kind of an establishment of a new tonal center, and I don't think there's enough time for that to happen.
Gm is already established as the tonic in the previous section (and in the beginning of the section). Spending one measure on a C#m chord is not enough time to establish C#m as the key, especially since it returns to Gm two measures later.
The Ebm-Gm is also used in the previous section, and it's a chromatic mediant (I guess you could also see it as some kind of a "dominant chord" because it uses the leading tone of Gm).
I'll argue that changing the key in Africa kept the song comfortably within the sweet spot of the songwriter's range, sort of transposing it. Keeping it in the same key he would have had to sing higher and it felt awkward for him.
Africa in G#m sounds so good!
i agree
That’s because, unlike all the other examples, it’s still a key change. The original shifts up a fourth. David’s change shifts up a fifth, making it an even brighter shift, while still very smooth.
David missed the modulation within the verses, which has them beginning in BMajor, but ending firmly back in the iconic intro riff’s key of C#m. That’s the key the chorus would be in if this particular key change were actually removed.
Squeeze, Up the junction... The key change is very hidden.
I think a big part of why C to A works so well in Lovefool is that both keys are part of the same diminished family (C, Eb, F#, A). All are relative majors/minors of one another. E7 is also fairly at home in C Major, being the V of vi.
Queen used to include those kind of subtle key changes in its most popular songs. Bohemian Raphsody goes from Bb to Eb without almost being noticed when the key changes. And Love of My Life from C to F in the same way. In both case it's a change to the IV grade of the original scale, having 6 notes in common in it. That's the cause for the changes being so smooth.
this is becoming mi favourite youtube channel
I always thought it was pretty clever how the title track of Tool's Fear Inoculum sneakily shifts from A minor to D phrygian by making just one small change at a time as the song progresses. We get a couple brief passages early in the song where the B gets flattened, giving it an A phrygian sound. This becomes permanent about halfway through the song, so this Bflat is already well established by the time the tonal center shifts to D toward the end. Then it's just a matter of adding the Eflat for a properly gnarly outro.
Is the song 'Stereotypes' by Blur at the same time in the key of B minor and B major?
Stereotypes is heavily influenced by funk, which itself draws from the blues tradition. Blues tonality doesn't much care whether you're in major or minor, it will freely use both at once.
Hi David Marillion , kayleigh changes for verse 2 then back for the chorusi
I believe great site thanks
Chris Rea’s Road to hell has a lovely change at the end of the very long and slow intro.
It goes from the major to the minor.
Great video, thank you so much! So now that you've covered examples with key changes in the way up, do you have any example of key changes the way down? Like after a chorus key change for instance? :)
Johnny Hates Jazz - Shattered Dreams is a wonderful example of good Keychange. I didn‘t realized it, just after I learned the bassline.
I've been in bands with multiple writer's, sometimes one person writes the verse one person writes the chorus and the singer complains and something changes to accommodate the vocalists range... Resulting in "we might have to figure out how to change keys smoother than that"
For 'The Zephyr Song', the 3rd from the F major (A) carries over to the D major in the chorus as the 5th. It still keeps the song rooted around A, just not obviously.
C Major transitioning to A Major is the most amazing I've ever heard
The 80s and 90s fusion artist Yutaka does this a lot. Three of his songs are transcribed on Hooktheory (Theorytab) and they all have subtle key changes amid their smoothly wandering chord progressions. "Lambada Nova" has an incredibly sneaky one at the end of the chorus! Worth checking out Yutaka if you haven't come across him.
Great video and I know you mentioned a few times the relationship between the shift in keys in regards to how many notes are common, however are there any more details you can tell us about how you would go about choosing and writing in a chord change to a song?
An old tip I remember (which is related to the circle of fifths concept) is that if you to go to an arbitrary key, use the fifth (dominant) chord of that key as a pivot point. e.g. It's easy to get from D to C, as you can play a G major chord. It's the IV of D, but is the V of C, so you can be in D for a bit and then use the G chord to get into C.
I don't guess it's particularly subtle, but the change at beginning of the instrumental section of Songs From the Woods by Jethro Tull is especially brilliant. I believe it remains in the same key but changes from a major to some sort of minor. If you understand music theory better than me (not a high bar), perhaps give it a listen and tell me what is happening precisely there because I'd love to know
Would love a video showing as many interval modulations as possible. Show a song that does a half step key change, a minor third, major 6th, etc)
Noice like these kinda videos
Can you do more on Jacob collier?
Enjoying your channel thanks David, would it be possible at some point to make a short analysis of "Flower of Scotland", with some references to any modes used and how it comes to be for so many people, the world over, such an emotional piece of music?
Don't Worry Baby by The beach Boys, from E to F# in the pre-chorus
I find that song infuriating, one of the most beautiful melodies I have ever heard and then two verses about drag racing. Sigh.
Lovefool always struck me more as a switch between A minor and A major. Still a key change yes, but not presented quite the same way.
I’d like to see a follow up showing how songs modulate back to the original key, for example, after the chorus.
Have you noticed the key changes in Road Rage by Catatonia?
Also in Africa the C#m is being used as a secondary dominant to get into F#m. It's not just the A before it.
Our house by madness has a nice key change
It was hard to really notice the effect of the lack of a keychange in Africa, as the Chorus that was changed did not really the include the verse..so effect got lost for the most part. The effect can be best heard when both parts are played. Was this done because of copyright reasons?
That’s because David simply replaced one very smooth keychange with another, rather than removing the keychange altogether as he intended. The transition between the ends of the verses and the beginnings of the chorus is a transition from the key of C#m to F#m, not from BMajor to F#m as his analysis suggests. TOTO’s original is a shift from the current key to its iv, while David’s is a shift from the current key to its v, so the effect is very similar.
@@fromchomleystreet I still would have like d to actually hear it as one piece (chorus + verse)
you'll be in my heart also one of the songs