Is gospel music the only music that modulates?

[floaded27]

Reading the other thread about "Gospel music in flat keys" and started thinking about other peculiarities of Gospel music, one being key modulations.

I've heard key changes in jazz and such, but its more by choosing particular chords that change the key center. But gospel music seems to be the only type of music that has explicit key modulations. I know you guys may have heard other music that i havent, so is this something thats just as common elsewhere?

Does anyone know the reason why this 'technique' is so heavily used?

[under13]

A lot of 80's and especially 90s RnB does it. Often during the bridge, and they will often resolve back to the original key to end the song. But that changed when the songs became more computerized. I think that the technique is used because it adds excitement and gives you that tension and release  that makes music interesting. A lot of these songs are similar to Gospel songs anyway.

Off the top of my head:

Brian McKnight - one last cry
Regina Bell - Make it like it was
Spandau Balet - True, the sax solo goes from G to Eb (I think) and back to the original key (very smoothly!)
Dru Hill - incomplete
Stevie Wonder - Rocket Love
Stevie Wonder's Summer Soft modulates quite a few times, making the song really emotional

[StooB]

A perfect example is Hezekiah Walker's - He lifted Me which goes through about 6 or 7 key changes. Maybe wearing pink choir gowns helps 

Hezekiah Walker & LFC / Love Lifted Me

I'm sure why it's done so much more in gospel than most music forms, and opposed to CCM worship where any more than one key change is usually considered a bit risky in church  - as well as 'refreshing' the song, is that because music is so important in gospel based churches coupled with gospel musicians wanting to push their musician skills (aka 'showing off'  ) that key changes satisfy the excitement of the music and satisfies the musicians inner need also. But anyone knows that when the anointing is there and the band is in the pocket, a key change can be euphoric.

[Fingers!]

^^^Anybody have any idea who that bass player is in the above video?  He’s one of those left-handed upside down guys.  I love those guys…I hate those guys.  My friend did this a lot.  When they do D and/or G string harmonics, they can continue playing while the harmonics are still ringing.  I can’t do that.  I have to try and reach over the ringing D/G strings.  The side of my palm under my pinkie would touch the string(s), muting the harmonic ring.  Sorry, not trying to hijack.

On the modulations:  Hezekiah is strong in that.  I noticed that when playing a song as such, I would sometimes see some key players, not bass players – key players, start to teeter as we go up.  Yea, I understand their situation.   

Faithful Is Our God - Hezekiah Walker

[T-Block]

So mr. floaded, are you saying that there is a difference between changing the key center and modulating?
____________________________

I'm the type of musician where I can't stand playing in one key too long. Sometimes I modulate for the heck of it so I can play in another key for a change.

It's a way to keep the repetitiveness from feeling repetitive. Somehow modulating keys breathes new life into something without actually changing it.

I agree with the above poster. Sometimes, you can just feel that urge to take it up. A lot of it is learned behavior as well. Especiall wit gospel, it ain't good until the 5th modulation, lol.

[floaded27]

So mr. floaded, are you saying that there is a difference between changing the key center and modulating?

kinda.

Check out the song "Calling my name" by Hezekiah Walker. The verse has a key center change from Eb to Ab to C#. The key center moves because of the type of chords being played. But anyone not really into music or music theory (musicians and skilled singers) probably wouldnt notice, but think it rather weird movements. but the key center changes but it fits with the basic structure of the song, meaning it doesnt feel like you've moved the whole song anywhere.

Then the bridge is in the key of Bb (or F# cant remember now sitting at my nonmusical computer at work. lol). explicit key change. but its an entirely new section of the song.


Quite different than repeatedly taking the entire song or a repeating vamp up a half-step or a whole-step. The feeling is that whole song has moved/changed (im assuming this is the exact intended effect). Even if you go back to the top, you have to do it in the new key, or EXPLICITLY walk it back down (which i've heard some songs do). Not that its a bad thing, but i just havent heard other styles do this.

Is it taboo, or just not necessary? I dont know. But i would definitely imagine that such key changes could turn out to be a engineers nightmare for a studio produced album!

[T-Block]

Gotch. And yeah, I know first hand bout that Hez. song cuz I chorded it out, lol. It's a great song containing key center changes. Just wanted to pick your brain a little.

In all the music appreciation books I've read, and every book on the "rules" of music, they ALWAYS say that ANY key change HAS to resolve on the original key.

You mean on the new key right? or am I misreading what you're saying?

Like, if you're in Eb, then key change to Ab, you resolve on Ab right?

[Fingers!]

I’m a bit lost.  I thought they were the same thing, that if a song shifts key, that’s modulating, regardless of how the song does it or what the song is doing.  For example, we tend to relate to modulation as a repeating riff moving around to other keys.  But if a song did a line, then shift to another key and did a complete different line instead of repeating the previous line…I thought that was still a modulation.  I guess not?  Am I thinking of something different all together?

[T-Block]

I’m a bit lost.  I thought they were the same thing, that if a song shifts key, that’s modulating, regardless of how the song does it or what the song is doing.  For example, we tend to relate to modulation as a repeating riff moving around to other keys.  But if a song did a line, then shift to another key and did a complete different line instead of repeating the previous line…I thought that was still a modulation.  I guess not?  Am I thinking of something different all together?

It's the same concept, but just a different application and feel.

Playing one  line in one key, then another line in another key is a little different from taking the entire song to the next key and staying there.

[T-Block]

Does modulation count as a key change in music theory?

I believe it does. The thing about modulation is you usually have clues that tell you the key is changing. And the key signature will usually stay the same. You start seeing all these accidentals and stuff.

With key changes, you can go there suddenly w/out any clues. And usually the key signature will change with it.

The "gospel" modulation is sort a mixture of the 2. You go to a completely different key, and there is usually a small warning or clue before it happens.

BTJM!

[IotaNet]

Hmmmmmm ...

I always thought that "Modulation" and "Key Change" were the same thing. I also think that it's pretty common and Pop/R&B music as well as Gospel. (When I first saw this thread, the first thing I thought about was "After the Love is Gone" by EWF. One of the best examples of pop/R&B modulation however, is "Golden Lady" by Stevie Wonder:

Stevie Wonder - Golden Lady

[Fingers!]

Hmmmmmm ...

I always thought that "Modulation" and "Key Change" were the same thing. I also think that it's pretty common and Pop/R&B music as well as Gospel. (When I first saw this thread, the first thing I thought about was "After the Love is Gone" by EWF. One of the best examples of pop/R&B modulation however, is "Golden Lady" by Stevie Wonder: Stevie Wonder - Golden Lady

The first thing I thought of was EWF - Jupiter, starting at 2:05.

Earth Wind & Fire - Jupiter