Now that many are beginning to know the compatibility between songs, and the mix of soft keys, I have created this guide to try to help those who want to.
We all know that if we have a song, for example, 3A, it is harmonically compatible with 3B, 2A and 4A, well, there are also other possibilities that I invite you to try with these tables.
They are the famous energy jumps, where we can use harmonically compatible songs, but with a big jump in energy, both up and down… you can try… 3A compatible with 6B and 12B, but also with 5A, 8A and 10A, I hope it can help
It’s a matter of trying… each one can always play in the same key, or raise or lower the energy of the music with compatible keys that in many cases sound quite good, after all, to discover songs for future mixes. in rekorbox there was an automatic system that helped you by suggesting compatible songs… well it’s something similar, but it mainly serves to be more creative using mixes that we wouldn’t have tried otherwise.
maybe the translator hasn’t helped me to explain myself clearly, I mean looking for original mixes with the original key, without changing… to create new mixes, playlists etc, not to change the key of a song to make it compatible. …
The method described (which I think Phil Morse call Fuzzy Key) is where you can mix in adjacent keys but also jump further around the Camelot wheel yet still sound in key.
Yes, it’s the Camelot wheel, supposedly the songs are compatible, with the one with the same number (3a with 3b) and also with those on its left and right (2a and 4a), but they can also be harmonically compatible( that is to say that the mixture between the two is usually better) if we use others, that is why I have created the table, so that you can test the ones that I put in the tables
Where did these tables come from? I’ve been doing harmonic mixing as far back as 2010, but haven’t ever heard of a couple of these moves.
Going from 1A to 4B is minor to major with the same root, so that makes sense that there will be some tension and release with the 3rds and 6th clashing. I’ve not tried that one yet, so I can’t comment on how that might sound. I am interested in how that sounds.
1A down to 10B is the opposite of above thought, moving -3 with an A to B switch? That’s a risky one, as you’re running into the possibility of hearing tritones… an interval to generally be avoided. I am not a very good musician, but I know that’s one rule not to break unless you are a pretty advanced composer… or doing some seriously avant-garde type stuff.
Staying within A or B and subtracting 3 is moving in 3rds, and that’s not something I’ve done a ton of, but is definitely something I’ve heard used. I wonder if the chart meant to use that instead of -3 from A to B/B to A?
This is only intended for reference in creativity, I wouldn’t use it live without trying it out.
The idea is that when you make a playlist and want to mix from a particular song and your options are limited, you can broaden the search (or simply trying new things that you had not tried before).
The idea is not to find the perfect harmony, just to facilitate the search for songs in the library with others that in principle you would not have considered mixing. It is always something theoretical, since the ear of the DJ is the one that gives the go-ahead to the mix and also that we know that the note that the program detects is not always the exact one, even mixed in key is not 100% reliable, but as I already told you, for some reason, in many cases that I have tried, it usually works quite well, and can help at specific times when preparing a different mix… the important thing is creativity and practice…
Go try a while with different mixtures, see how it goes and tell us… regards
