Guide
How to change key between songs in a medley
Two songs rarely sit in the same key. The join between them is where a medley either feels like one piece or falls apart, and most of that comes down to how you handle the key change (modulation). Here are the four techniques arrangers reach for, from simplest to smoothest.
First, find out how far apart the keys are
Write both keys down and count the distance:
- Same key or relative key (G major and E minor): no modulation needed. Just join on a strong cadence.
- Up a half step or whole step (G to A♭ or A): the classic "truck driver" lift. Sounds deliberate and exciting.
- A fourth or fifth apart (G to C or D): the keys share most of their chords, so a pivot chord works beautifully.
- Distant keys (G to E♭, or G to F♯): you need a bridge: a dominant chord, a common tone, or a short break.
1. Direct modulation
End the first song on its tonic, then simply start the next song in its own key. It works best when:
- the new key is higher (a step up feels like a lift; a step down feels like a drop in energy);
- there's a clear break: a drum fill, a breath, or a big hit on beat one.
Example: last chord G, drum fill, first chord of the next song A. Done.
2. Pivot chord
Find a chord that belongs to both keys and make it the hinge. In the last bar of song one, play that chord, then treat it as part of the new key.
| From | To | Pivot chords |
|---|---|---|
| G major | D major | G, Bm, D, Em |
| G major | C major | C, Am, Em, G |
| C major | A minor | any chord, same notes |
| D major | B minor | any chord, same notes |
Example, G to D: | G | Em | A7 | D |. The Em belongs to both keys; the A7 points firmly to D.
3. Dominant lead-in (V7 of the new key)
The most universal tool. Before the new song starts, play the dominant seventh of the new key for one or two bars. Every listener's ear hears where the music is going.
- To get to A, play E7.
- To get to E♭, play B♭7.
- To get to F♯ minor, play C♯7.
For extra drama, put the dominant over a held bass note or a drum roll, or precede it with its own ii chord (a ii–V): | Bm7 | E7 | A |.
4. Common tone
Find a single note shared by the last chord of song one and the first chord of song two. Let the melody (or a string pad) hold that note while the harmony shifts underneath. It's subtle and works even between distant keys.
Example: song one ends on C major (C–E–G), song two starts on E major (E–G♯–B). Hold the E and let the band move under it.
Practical tips
- Check the singer's range first. The smoothest modulation is useless if the new key is out of reach. Transpose whole songs before planning the joins.
- Plan the keys for the whole medley. Rising keys (G → A → B♭) build energy towards the end.
- Write the key signature change at the start of the new song in every part, and add a double bar line.
- Remember transposing instruments. A trumpet in B♭ reads a whole step higher; its key change looks different on its part.
- Rehearse the joins on their own. Run the last two bars of each song into the first two of the next until nobody hesitates.
Doing it faster
Medley Writer detects the key of every song, shows you the change at each join (for example G → A), and writes the transition you pick (drum fill, turnaround, or slow down and restart) into every part, already transposed for each instrument.
Try the free medley key planner: list your songs and keys, and it suggests the smoothest order and a transition for each pair.
Let Medley Writer do the transcribing
Upload the songs, choose the parts and the order, and get a full arrangement for your band with the transitions written in. Free during the beta.
Join the waitlist