Changing Keys

Modulation is a fancy word for key change -- switching from one key to another in a single piece of music. It is a common practice in composition (both classical and rock or pop) and can be used to a variety of effects. Modulation can be subtle and smooth or abrupt and startling. It can cast an eerie glow on a piece of music or completely change the mood and direction. The effect achieved, however subtle or abrupt, is largely dependent on the type of modulation used.


The most common type of modulation is called pivot chord modulation. In this type of modulation, the key changes based on a chord shared by both keys; the destination chord often has the same root note or quality as the original chord. This allows for a smooth, almost foreshadowed modulation. A good example of this is found in the last chorus of rock songs; this type of modulation is used there to an almost triumphant effect.

Another common type of modulation is pivot tone modulation. Similar to pivot chord, pivot tone modulation uses a common pitch to move from key to key. This type of modulation is also subtle, depending on the piece of music in which it is used. It can, however, be used to a startling effect if the two keys have few notes in common. In songs using pivot tone modulation, the common pitch is often sustained or repeated and used a bridge between the two keys.

The most abrupt kind of modulation is direct modulation. The name is exactly what is says it is: a direct modulation using no common note or chord to bridge the two keys. When used correctly, direct modulation is shocking and can easily change the song's mood. This type of modulation switches keys either at a phrase's end (phrase modulation) or at a point in the middle of the song (static modulation).

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What fingers should I use on chromatic passages on the piano?

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Piano Runs Using 16th, 32nd and 64th Notes

Making Rapid Runs Out Of Arpeggios On The Piano

Standing Chords On Their Heads

Inversions: Chords Upside Down

You Can Call Me Ray, Or You Can Call Me....

Keys With Two Names -- Chords With Two Names

What do those numbers at the start of a piece of music mean?

Numbers such as 4/4, 3/4, 2/4, 6/8 and so on which appear at the beginning of a line of sheet music are called "time signatures". The top number tells how many beats are in each measure, while the bottom number tells what kind of note gets one beat (one count).

For example, in 3/4 time there are 3 beats in each measure, and a quarter note gets one count. If the time signature was 3/2, there would still be 3 beats in each measure, but a half note would get one count.

In 6/8 time there are 6 counts per measure and an 8th notes gets one count.

There can be "odd numbers" such as 3, 5, 7, 9 on top, but never on the bottom, because the bottom number describes the kind of note that gets one count, and there are no "3rd notes", "5th notes", and so on -- just half, quarter, eighth notes, etc.

How the piano got its name

Prior to the invention of the piano there was an instrument called a harpsichord which was played by playing a keyboard but the result was plucking of the strings similar to a guitar. And prior to the harpsichord there was an instrument call the psaltry which was played by actually plucking the strings. Later the psaltry had a keyboard, and that led to the harpsichord.

When the piano was invented somewhere around 1700, it was novel in that instead of the strings being plucked they were struck by a hammer which was inside the piano.As a result music could be played both soft and loud which was not true with the harpsichord or the sultry. So it was named the "pianoforte" which in Italian means the "soft loud instrument." It was refered to this way for many years until finally the "forte" part of the name was left off and was just refered to as the "piano." Kind of strange in a way, since in Italian the word piano means soft. So to be literal, you are playing the "soft." when you play the piano, even though you play it using a variety of dynamics.

What Does "SATB" Mean?

On certain types of music you will see the notation "SATB", and unless you have been in a choir somewhere along the line, you might not understand what it means.

It means "soprano, alto, tenor, bass", and so music that is written in this way was obviously written for voices, not for the piano or some other instrument. But most every hymn book is written SATB, so what is a piano player to do?

If he or she plays it as it is written, it sounds vacant, because 4 piano notes cannot adequately mimic 4 human voices. So a piano player needs to be able to "see through" the 4 parts and come up with the chord those 4 notes are spelling out. Once the chord is known, then the pianist can fill in with a much larger sound to accompany the singers, or if playing solo, improvise based on the chord structure of the song.

How To Play In The Cracks...To Make Your Piano Sound "Bluesy"

To get a blusey sound, singers and instrumentalists play in quarter steps -- somewhere in the cracks between two piano keys. It's easy for them to do it, because they can manipulate their voice and lips, but harder for a piano player to do it. Watch this short video to get an idea how it might be done:


How To Play In The Cracks To Get a Blues Sound from chordman on Vimeo.