Figuring out the key that pjam songs are in..

offaroundthebend

im having a tough time figuring out what key songs are in...someone told me its usually the same key as the first chord of the song...but pj has so many songs with intros and i just cant get it...can someone please explain to me a good way to identify the key to songs...

is there a list of what key pjam songs are in? someone should make this.

Drew263

offaroundthebend wrote:

im having a tough time figuring out what key songs are in...someone told me its usually the same key as the first chord of the song...but pj has so many songs with intros and i just cant get it...can someone please explain to me a good way to identify the key to songs...

is there a list of what key pjam songs are in? someone should make this.

well to muddy it up a little more...not all of the songs stay in the key.

offaroundthebend

ya i know...but atleast i would start to get an idea of what key to solo in.

Drew263

offaroundthebend wrote:

ya i know...but atleast i would start to get an idea of what key to solo in.

No, I understand. What I 'try' to do is to follow the chord progression in the solo. That way, if the song leaves the key (C major to A major), you address the change automatically.

ianvomsaal

If you can get a hold of a book with the music in it, the key signature will be in front of the song.
There will be a sequence of sharps or flats before the Time Signature (4/4, 3/4, 6/8, etc).
This sequence of sharps or flats is dictating the KEY SIGNATURE - easy easy easy.
Also, alot of times the last chord (not the 1st chord) in the song is the KEY.

- Ian

offaroundthebend

ianvomsaal wrote:

If you can get a hold of a book with the music in it, the key signature will be in front of the song.
There will be a sequence of sharps or flats before the Time Signature (4/4, 3/4, 6/8, etc).
This sequence of sharps or flats is dictating the KEY SIGNATURE - easy easy easy.
Also, alot of times the last chord (not the 1st chord) in the song is the KEY.

- Ian

thanks, the last chord thing helps big time...any other pointers about switching keys within solos?

MLC2006

something that works most of the time when figuring out what key to play the solo in, listen to the rhythm part that the solo is played over. for example, the part that the "Alive" solo is played over (which is the chorus part) is Em-G-D-A. so the solo is played in the Em pentatonic. the "Yellow Ledbetter" solo is played over is E-Bmaj7-Amaj7, so the solo can be in Emajor or C#minor (the relative minor).

don't know how "carved in stone" that rule is, but it works a lot for me most of the time. I find it works almost ALWAYS with classic rock songs. like the rhythm part during the solo of "Stairway to Heaven" is Am-G-F, so the solo is in Am pentatonic.

if you know the rhythm part during the solo, you'll know instantly if you're playing the solo in the wrong key because it'll sound way out of whack.

ianvomsaal

offaroundthebend wrote:

thanks, the last chord thing helps big time...any other pointers about switching keys within solos?

You have to find the core melody within the tune - I try to figure out what the 1-Chord is since that's the root of it all.
To get a handle on soloing over key changes I'd recommend the 1st excercise from this Book:
click here: Jamey Aebersold "THE ii/V7/I PROGRESSION"
This may be jazz based, but you can use it for blues and rock (I always do, and I don't play that much jazz anymore).
The 1st exercise is an incredible exercise for developing your ear and understanding what you can play over
key changes (since it changes keys every 4-measures, and ends up changing through all 12-Major Keys).
You'll get to the point where you ears hear the changes - you'll start to use different modes/scales that work between
the last chord of one progression and the 1st chord of the next progression (finding common notes between both).
Here's what it looks like: click here:ii-V7-I Progressions in all 12 MAJOR keys
Don't let what looks like a complex exercise frighten you (it's not difficult, just looks like it).
The nice thing is that you have a backing track to play along with so you can hear the key changes as well as see them.

Basically, forget everything you see except the last chord in each line.
In the first line, the last chord is C-Major7 (This is your one chord)!!!! MEANING THIS IS YOUR KEY SIGNATURE!!!
So in just the first line you have many options: C-Major, D-Dorian, E-Phrygian, F-Lydian, G-Mixolydian, A-Aeolian, B-Locrian . . .
Plus you can also play C-Major Pentatonic or C-Major Blues Scale, and A-Pentatonic Minor or the A-Minor Blues Scale.
The next line is a different KEY (Bb-Major7) - this is now your 1-chord, meanng your Key Signature.
All the same rules apply here: Bb-Major, C-Dorian, D-Phrygian, Eb-Lydian, F-Mixolydian, G-Aeolian, A-Locrian . . .
Plus you also have Bb-Major Pentatonic or Bb-Major Blues Scale, and G-Pentatonic Minor or the G-Minor Blues Scale.
See how the scale order remains the same but the key changes - just learn your Key Signatures and you're there.
Hope this helps - Cheers . . .

- Ian

Drew263

ianvomsaal wrote:

You have to find the core melody within the tune - I try to figure out what the 1-Chord is since that's the root of it all.
To get a handle on soloing over key changes I'd recommend the 1st excercise from this Book:
click here: Jamey Aebersold "THE ii/V7/I PROGRESSION"
This may be jazz based, but you can use it for blues and rock (I always do, and I don't play that much jazz anymore).
The 1st exercise is an incredible exercise for developing your ear and understanding what you can play over
key changes (since it changes keys every 4-measures, and ends up changing through all 12-Major Keys).
You'll get to the point where you ears hear the changes - you'll start to use different modes/scales that work between
the last chord of one progression and the 1st chord of the next progression (finding common notes between both).
Here's what it looks like: click here:ii-V7-I Progressions in all 12 MAJOR keys
Don't let what looks like a complex exercise frighten you (it's not difficult, just looks like it).
The nice thing is that you have a backing track to play along with so you can hear the key changes as well as see them.

Basically, forget everything you see except the last chord in each line.
In the first line, the last chord is C-Major7 (This is your one chord)!!!! MEANING THIS IS YOUR KEY SIGNATURE!!!
So in just the first line you have many options: C-Major, D-Dorian, E-Phrygian, F-Lydian, G-Mixolydian, A-Aeolian, B-Locrian . . .
Plus you can also play C-Major Pentatonic or C-Major Blues Scale, and A-Pentatonic Minor or the A-Minor Blues Scale.
The next line is a different KEY (Bb-Major7) - this is now your 1-chord, meanng your Key Signature.
All the same rules apply here: Bb-Major, C-Dorian, D-Phrygian, Eb-Lydian, F-Mixolydian, G-Aeolian, A-Locrian . . .
Plus you also have Bb-Major Pentatonic or Bb-Major Blues Scale, and G-Pentatonic Minor or the G-Minor Blues Scale.
See how the scale order remains the same but the key changes - just learn your Key Signatures and you're there.
Hope this helps - Cheers . . .

- Ian

Ian....you "sound" exactly like my instructor.

ianvomsaal

Drew263 wrote:

Ian....you "sound" exactly like my instructor.

I am one, so go figure
It may sound funny, but hate telling people to practice or memorize stuff (especially since
half of my students are older than me), but lets face it, it's the only way to get better.

- Ian

Drew263

ianvomsaal wrote:

I am one, so go figure
It may sound funny, but hate telling people to practice or memorize stuff (especially since
half of my students are older than me), but lets face it, it's the only way to get better.

- Ian

Oh I agree. I have certain things that I practice everyday. it's not as fun but it is amazing how much better the "fun" stuff gets when you do take the time to practice.