Meaning you just increase or decrease the number of notes you are singing from part to part. Well, its hard if you want it to be a true bridge rather than just some novelty change up. This is the sleaziest and easiest. It seems like you are wanting your bridge to break the monotony and take the song to a new height before returning back.
This is what most amateur songs have. This is when a song starts in a key, then changes to its relative major or minor. For example, you start in A and end up in Am, or start in E and end up in Em. The song starts in a major or minor, then modulates to the major or minor of the same chord.
Simply adding more snare hits or something is not going to do anything UNLESS the modulation is solid from a harmonic perspective. Modulation in chords has nothing to do with the beat or the rhythm. A damn good post You will also find it in a ton of other beatles tunes and practically every other great song as well.
Alot of 60s music uses that kind of shift. Modulation occurs when the song changes to a new key. The song changes to a new key using a chord common to both keys. There are only a few kinds of modulation: Like if you started in A, you would change the key to F m, or from C to Am.
Like when the whole verse and chorus moves up one fret for the end of the song. Now be careful when doing it this way because relative chords are closely related anyways, so using secondary dominants will help make it obvious that the key is truly changing and not just using its relative casually like most songs do anyways.
First you must establish tonality in the original key. Unless you are changing the underlying meter of the song, the beats mean practically nothing. Make sure the listener knows what key you are starting in.
This is another tricky one because tonality can be blurry if you dont watch out. Alot of old Kinks tunes do this. Then for the modulation to sound true and strong you must establish tonality in the new key.
If that is the case you are talking about "modulation". It takes no skill and it shows. This is when a short melody repeats then repeats at a different pitch, carrying the song into the new key. Then you can modulate correctly powerfully, smoothly. If you want to add a changing feeling try this which you should be doing already if you are a skilled songwriter.
Basically you just choose a new chord and go for it. The only way a shift modulation can sound good is if the new key repeats the same chords like a sequential modulation.
Remember, tonality must be established for the new key to be apparent to the listener. You can make a song feel like its speeding up or slowing down by using augmentation or diminution of the melody rhythm.
Simply changing rhythm or moving to some "minor chord" is not enough and its a stab in the dark at making a bridge what it could really truly be if you knew more about what you were doing.Teaching/Writing: The Journal of Writing Teacher Education Volume 3 Issue 2Fall Article 1 Introduction: Building Bridges in Writing Teacher Education.
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