Key Of A Song Generator

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• Online Key Generator

Want to find the BPM of a MP3 or any other audio file (see list of supported formats)?This Song Analyser is made for you. Drop your audio file(s) in the area below and instantly get the Tempo by magic.

The perfect playlist needs the perfect tempo – the importance of BPM

What are the key ingredients to finding the right song for a particular occasion?Most people will immediately think about the melody, the words and the genre, but a fundamental aspect is to get the right tempo.The speed at which a song is recorded and performed has a profound impact on how it is perceived and whether it will work in the context that you have planned.

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The clearest illustrations of how BPM can affect a piece of music can be found in songs with which we are all familiar,but that take on a whole new character at a different tempo.The Bing Crosby festive classic White Christmas must be one of the best known songs of its genre, and has been covered numerous times.While the likes of Michael Bublé might stick to the “easy listening” tempo that we know so well, 1970s punk band Stiff Little Fingersgave the song a whole new edginess when they started playing it in their silly encores section at live shows. And all by increasing the BPM.

Sometimes, a songwriter might start out with a particular idea for a song's tempo, only for it to evolve over time.The classic example here is Help! by The Beatles. When John Lennon first wrote the words, he envisaged a slow tempo to match the emotion of the song.It was not until George Martin started working on the piece in the recording studio that he hit upon the idea of increasing the tempo –and thereby created one of the most iconic sounds of the 1960s.

How to find the BPM

The above examples show just how much of an impact the tempo of a song will have on the way in which we interact with it.Whether you are a DJ looking to put together the perfect mix or a choreographer searching for something a little different for a new routine,knowing which songs have the right BPM is one of the first things you need to think about. The GetSongBPM song analyser calculates the beats per minute of any song.The simple drag and drop app could not be easier to use, and will measure the BPM from any audio file.It supports a wide range of file formats.

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Finding the songs with the best tempo

If the examples mentioned earlier from some of the most famous songs in history show us anything,it is that we should be prepared to experiment and keep an open mind. Anyone who has watched TV shows such as Britain's Got Talentwill know that some of the most memorable dance routines sometimes encompass the most unexpected songs –perhaps music from a genre that seems at odds with the type of dance, but that somehow “works.”

As any choreographer knows, there is no magic to the fact that the dancer can work with this seemingly inappropriate piece of music –it is all about the fact that it is at the right tempo. This is where GetSongBPM can really come into its own.Anyone looking from the outside might wonder how a particular piece of music can be made to work with a given style of dance.In reality, anything with the right BPM will be a natural fit – and the GetSongBPM will find a whole host of song choices that you would never have considered.

Can you foxtrot to Cyndi Lauper?

Suppose you are looking for a perfect song with the right BPM for a particular dance.All you need to do is plug your playlist into the GetSongBPM app and see what it comes up with.Alternatively, you can take a look in the GetSongBPM database to find some really left-field ideas for a new dance routine.

Let's take a look as a quick example. A Foxtrot is danced in 4/4 time at around 120 beats per minute.So with your playlist now analysed, you can add the BPM tags to every song. If you have a penchant for 1980s pop,you will notice that Girls Just Wanna Have Fun by Cyndi Lauper has a tempo of exactly 120 BPM.It's certainly not a tune that would immediately spring to mind for dancing a foxtrot, but it's one of those little-known facts thathas already been spotted by one celebrity couple inDancing with the Stars, the US version of Strictly Come Dancing.

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Keep everyone dancing

Of course, it is not just professional dancers or choreographers who need to know about BPM.Anyone who has ever tried to keep party goers or clubbers involved and active on the dance floor knows that one false move with the playlist can make everything fall flat,whether you are a professional DJ at a top nightclub or a keen amateur trying to keep everyone entertained at a kids' party.

Traditionally, DJs have grouped their music by genre or artist – and when they were working from physical records or CDs, they had very little choice.Today, with music stored electronically, there is far more freedom in ordering your playlist by whatever means you choose.

By maintaining consistent BPM from one song to the next, there is a smoother transition, and less likelihood of dancers deciding to leave the floor.And just as is the case with those unexpected foxtrot songs, you can come up with some truly spectacular segues that will leave the revellers wondering at your musical knowhow and imagination!

Experiment and dare to be different

The tempo of a piece is one of the most important, yet least discussed, aspects when it comes to putting together a playlist,for whatever purpose. In many cases, you might be constrained to a specific BPM.However, that does not have to limit your ability to do something unusual. The GetSongBPM song analyser gives you the information you need that will help you dare to be different.

From classical to music hall to pop to punk, those who truly understand the importance of tempo can find inspiration in the most unlikely places,leading to some of the most memorable experiences. For this reason, we also offer a filter by Music Genre.

Rhythm Tools

If you’re already signed up for our GuitarOS course, you’ll be getting this towards the end of Nashville Numbers.

But I thought it’d be helpful for those of you going it alone to have this information at your fingertips too.

What Key Is This?

If you’ve been following along in GuitarOS, you’ve learned

• to ID notes on your fretboard by their actual names,
• which notes go into which keys,
• how to build simple & fancy chords,
• which chords belong in each key, and
• what the “function” of each of those chords is.

But how do you know how to figure out the key of a song in the first place?

Here’s a list of questions that will help you decide.

Although putting this in a checklist makes it seem really formal, this is something that will eventually happen automatically, in a matter of seconds.

I trained my brain to do this, and you can too.

With a little practice you’ll be able to take a snap “reading” of a song (or a section of a song).

1. Is there a chart with a key signature?

2. Did someone call a key?

3. What’s the last chord in the song?

4. Is there a clear dominant chord?

5. Is there another clear chordal movement that’s a key giveaway?

6. Are all the chords diatonic to a certain key?

7. Are most of the chords diatonic to a key, with some non-diatonic (but not entirely unexpected) chords sprinkled in?

8. Can this be written in more than one key?

9. Is one easier than the other?

10. Does it even make sense to think of this as being in one key?

I’m going to explain each of these in order, but I want to begin by saying that you should be going through this checklist in this order when trying to determine a song’s key.

If you’re doing the Nashville Numbers GuitarOS course, you’ll already have this internalized, but for the rest of you it’s going to be helpful to have a chart with all the chords in each key open in a separate window.

Is there a chart with a key signature?

Probably the easiest way to determine what key you’re in is when the written music tells you the key.

Although we didn’t dwell on it in the Circle of Fifths course, you already have this knowledge because (assuming you did Circle), you already know how many sharps or flats go in any given key.

On a chart written by a literate musician, there will be key signature––some number of sharps or flats between the clef and the time signature:

In this example, one flat means that the song is in F.

So when you see this at the top of a chart:

You’ll know that it’s in the key of E.

And when you see this:

You’ll know it’s in D.

Don’t worry about that whole 4/4 – 6/8 – ¢ “time signature” thing for now––the next GuitarOS course is going to teach you all about rhythms.

Did someone call a key?

Of course, if someone says, “this is a blues in G” or “we’re playing Dock of the Bay, but in F,” you’ll obviously know what to do.

What’s the last chord in the song?

If you’re learning a song from a recording, or reading a chart written by a less-than-literate musician, you can look to the last chord of the song––it’s frequently the I chord.

It’s not a hard and fast rule though. If the song changes to a new key somewhere along the way, this won’t be of much help.

And there are plenty of songs that purposely end on a chord other than the I.

If the last chord of the song gives you the feeling of resolution, it’s probably the I.

But if the last chord feels unsettled, it probably isn’t.

Is there a clear dominant chord?

If we look at the extended chords that show up diatonically (diatonic = made up of only notes from within the key), we see that there’s only one that’s a dominant 7 chord: the V.

If you see a set of chords that only has one dominant 7 among them, there’s a pretty good chance that that chord is the V.

Is there another clear chordal movement that’s a key giveaway?

You can also be on the lookout for other mini-progressions like ii-V or IV-iv.

When I see Am-D, my brain goes straight to “ii-V in G.”

When I see F-Fm, my brain goes right to “IV-iv in C.”

Are all the chords diatonic to a certain key?

(Again, “diatonic” means only using notes from within the key––no outside notes.)

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If you see this progression:

Am-Bm-Em-D

…you can see that the only key that has all of those chords diatonically is G:

So even though there’s no G chord, it’s in the key of G.

This example is from Dave Matthews Band’s #41. The band eventually does go to the G chord, but it takes them a minute and a half of this progression before they do.

Are most of the chords diatonic to a key, with some non-diatonic (but not entirely unexpected) chords sprinkled in?

Here are the chords from John Mayer’s Badge & Gun:

All of the chords except that A7 are diatonic to G:

But when we look at the commonly-occurring non-diatonic chords, we see that A7 isn’t entirely unexpected:

Can this be written in more than one key?

Is Sweet Home Alabama a I-^bVII-IV in D?

Or a V-IV-I in G? https://instabaccom.tistory.com/5.

If you do a google image search for “Sweet Home Alabama sheet music,” you’ll see that roughly half of the transcriptions show it in D, and half in G.

Is one easier than the other?

My personal preference is to think of Sweet Home Alabama in G, because it’s easier that way.

But thinking of it in D is just as correct.

I have another post cued up for next week, talking all about the implications of this idea, and what it means for modes.

Does it even make sense to think of this as being in one key?

For some tunes, it doesn’t really make sense to think of them in one single key.

Here’s The Allman Brothers’ Melissa:

Although we don’t leave the key long enough to warrant writing in a key change, for measures 11 & 12 we’re very clearly playing I-ii-iii-IV in the key of A.

If you were soloing over these changes, the E major scale that sounded so good over the rest of it suddenly doesn’t fit quite right––you have to smoothly switch to A major for those two bars.

Jazz music is filled to the brim with this sort of thing––there’s ii-V-I, and then I becomes minor and it’s the ii of some other key…

Online Key Generator

Jazz musicians still use this same roman numeral language, but they’re not beholden to whatever key is written on the chart––they’re talking about what key the song is in for this subsection of the tune.

Playing fluidly over chords that change key frequently requires an equally fluid mindset about keys.

Learning to see subsections of songs as being in their own key is the logical extension of getting good at seeing songs as being in a key.

We’re going to touch on this again next week when we talk about how all of this feeds into our understanding of modes.

What About Minor Keys?

It’s worth mentioning that up until now we have studiously avoided talking about minor keys––keys where the “one chord” is minor: i.

Minor keys are their own thing, and worthy of their own article (which we’ll get into in two weeks, after our discussion of modes).

Recap

• At the top of a well-written chart, you’ll see a clef & a time signature, and in between them is a key signature––the number of sharps or flats tell you what key the song is in.
• If the last chord in the song gives you a sense of resolution, it’s probably the I.
• The only diatonically occurring dominant chord is the V. If you see a dominant chord, there’s a decent chance that it’s the V.
• Other clear chordal movement that suggest a key are ii-V and IV-iv.
• Sometimes you’ll be able to see that all of the chords are diatonic to a certain key.
• Even if the I isn’t one of those chords.
• Other times most of the chords will be diatonic to a key, and the non-diatonic chords will be common enough.
• Some songs be written in more than one key.
• One is usually easier than the other.
• Some songs move fluidly through different keys.
• Getting good at quickly seeing the key of simpler songs will lead to getting good at spotting those times when a subsection of a song is in a different key.
• if you’d like to be walked through this one piece at a time, sign up for GuitarOS

See you next week, when we’ll talk about what all of this means for modes.

-Josh

ps. Here’s that chart of all the chords in each key.

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