Keychange in a Song: half step or whole step (1 Fret or 2, please???)

[Oldrottenhead]

i haven't a clue about what you guys are talking about for all i know i might use these "step changes" all the time. do what feels right for the song.

[Farrell Jackson]

My philosophy is to use whatever works whether that's a half, a whole step up, or nothing.....as long as it adds something good to the song and doesn't sound corny. Of course that's always in the ear of the listener to decide but one given is that it's your song and you choose what to do with it. I've used whole step ups for a solo section before but then brrought it back to the original chords to end the song. I've been both criticized and praised for doing that, lol. So who knows?

Farrell

[Geir]

........... I've used whole step ups for a solo section before but then brrought it back to the original chords to end the song........

Ah yes ... I've done that too ... forgotten all about it .... it does give the solo a lift ...

[Auroran]

i haven't a clue about what you guys are talking about for all i know i might use these "step changes" all the time. do what feels right for the song.

I believe these fine people are talking about the art of "modulation", aka "The great extender". Think Barry Manilow.  Gospel musicians are wonderful at it, it's a common tool. It's not uncommon to have a gospel song modulate 4 times. Last year I did one ( I'm a pro orchestrator, I arrange music for symphonies) that had a whopping 7 modulations.

I like to modulate to related chords- a perfect 4th up, a minor 3rd down etc. If a song is in D, modulating to B is a great sound. It's also a smooth transition- F# stays the same and D slides up a half-step to D#. In between the D and B chords, one typically goes to a goes to a F# chord, which becomes the Dominant chord for the B. Why yes, I did go to fancy book-lernin' music skool. 

[Blooby]

Doesn't have to be cheesy. Sucks on singing shows to elicit emotion. Done to great effect in a tune like "White Rabbit" by Jefferson Airplane.

Blooby

[AndyR]

I like to modulate to related chords- a perfect 4th up, a minor 3rd down etc. If a song is in D, modulating to B is a great sound. It's also a smooth transition- F# stays the same and D slides up a half-step to D#. In between the D and B chords, one typically goes to a goes to a F# chord, which becomes the Dominant chord for the B. Why yes, I did go to fancy book-lernin' music skool. 

Yeah, that's the biz...

You paying attention there, orh? There's gonna be a test later

My favouritest one is the instrumental in Day Tripper - I understand that was George Martin's idea.

Back to the original question, though - I think a whole step is what most of our ears are used to for a "modulate up" at the end of a song. So it's the "safe" option. And probably the one that'll work without too much effort. But it also might suffer from sounding "too tried and tested". So if you can get a more "unusual" one to work then mebbe that would be better...

... in the end, though, it's all about what sounds good (to you, first, and then, hopefully, to others)

[Hook]

I'm glad Auroran joined in to lay some theory on us, I too hear key change and think momentarily on Manilow but I do dig them when they are used tastefully. Love the solo change very cool. I just covered "She's Always A Woman"  from Joel and it changes keys from verse to chorus and then again halfway through the chorus, it's awesome. I'm a little theory dumb (I have to try and think really hard ) but I think I have a pretty good ear, so I just trust my intuition. If it sounds right do it!

[badrail]

Okay, thanks for all the feedback, great. I did want to inquire about the barstool reference, inquiring minds (mine) wants to know. Thanks again!

[Auroran]

but I think I have a pretty good ear,

At the end of the day, this is the best tool in one's "theory" arsenal. 

I have had a ton of theory, but a lot of college theory isn't "real world" knowledge. In the past few years I've been heavily involved in some Gospel projects, and my "real world" theory has drastically improved due to it. Modern gospel is quite complex and progressive, lots of chords with b5 and 7, sus2, 13, you get the drill. It's been challenging and rewarding to be able to broaden my skills after being a musician for a looong time.

[kenny mac]

An example would be the lead in  bostons don't look back