Lessee...yeah, the Chinapainting track "Isle of Exile" has an example of the switch from minor to relative major. It's in a pretty well-defined minor for the first 5 minutes. Then Jim started doing some looped slides that were a bit more major in feel, so I started slowly switching to the relative major, in high extensions, fading out the minor bass. By 7:30 or so, the major key is pretty much established, and we ride that out to the end of the tune. Sorry, I don't have an mp3 handy, but I'll see if I can get one together for you this weekend. Or, it's on eMusic and Rhapsody, as well as Amazon and iTunes - search for "Night Blooming Cereus" which is the album title. It's the second track. Also, "Cut Away the Stone" from my "Rentintwain" CD is an example of going from atonality into a defined minor key, then switching to the relative major and doing some other shifting all in the same key. It's long - 12 minutes - and around seven minutes in, I start moving towards a tonal chord, slowly fading out the atonal stuff. At 8:20, I hit the relative major of that minor chord. At 9:00 or so, I start playing some other chordal fragments, implying other chords. You can stream that one here: http://www.swanwelder.com/jukebox/cutawaythestone/index.html Daryl Shawn www.swanwelder.com www.chinapaintingmusic.com > Daryl, is there a specific instance of you doing this up someplace? I > would love to hear it! > > Jeff > > ----- Original Message ----- From: "Daryl Shawn" <firstname.lastname@example.org> > To: <Loopers-Delight@loopers-delight.com> > Sent: Friday, December 26, 2008 1:10 PM > Subject: Re: Fwd: here and now / evolving loops > > >> This is an interesting discussion. >> >> It's true, Fabio, many looping artists tend to stay fixed on a tonal >> center. One simple trick I've found is to make a sudden or gradual >> change to a different chord in the same key. The most obvious is to go >> to the relative major or minor, so if it's been a heavy E minor groove, >> I'll start feeding in G major triads. It can create some real drama, >> while allowing an established loop to continue. It's not hard to switch >> back and forth, especially if you replace the lowest part of your loops >> (whatever serves as your "bass"). >> >> More dramatically, I'll lay groundwork for an actual key change by >> inserting bits of very nontonal, undefined stuff, slowly obliterating >> the previous key center. When the previous key has disappeared in a >> nontonal mess, I'll start a new one, replacing the nontonal stuff with >> inside material. Coming from chaos to a defined key center can work >> really nicely.