How To Travel From World-To-World In Song

If you're a musician you might be asking yourself:successfully transitioned from one key, or world,
"What does he mean by traveling fromto another without it sounding weird.
'world-to-world?'" Well that's a good question and INow I'm not the most savvy when it comes to
have a simple answer for that. Let me share withexplaining music theory (even if it's my own
you a recent discovery I happened upon whilemusic), but play out the bass notes and you'll hear
banging on the keys (that's "playing the piano" inwhat I mean. Add some chords to those bass
music-speak) and trying to come up with a song.notes and you'll amplify your scope of
I've gone through 6 years of formalized Westernunderstanding by listening to the full spectrum of
Classical music training and 4 years ofthe music.
Ethnomusicology studies and for whateverThis is a very basic example of what I mean by
reasons, I never picked up a thing about thetraveling from "world-to-world" but if you try this,
musical elements of structure, motifs, andyou'll soon gain a whole new experience into music
dynamics in any piece or composition. If it camecomposition as well as simple music appreciation.
to my own songwriting, I hardly ventured out intoIn essence, you're moving outside of your original
a different key and mostly stayed in one,key, or outside of your world, by moving into
differentiating sections by production orthat E flat, which changes the sound seamlessly
instrumental arrangements instead. I mean, ininto a new E flat Major while giving you the
theory I knew about those elements but I hadn'tflexibility to come back to your original F Major.
grown into them until very recently.Needless to say, this was an ear-opening
So as I dabbled on the keys some ideas here andexperience for me and provided me a renewed
there to try and transition from section to sectionappreciation for past musical greats that didn't
(perhaps with an intention to escape my boredomhave technologies like sampling and sound
of creating songs in a mono-key structure), Iengineering to alter the timbre of their
accidentally hit a bass note that was a relativeinstruments. They worked with what they had.
4th that did not belong to any of the notes in theAnd in a sense I worked backwards by relying on
key but was based on one of the octave notes intechnologies to structure my sound. Now I've got
that key. For instance if I'm playing in the key ofthe greats to stand on their shoulders to integrate
F Major (which only has a B flat in that key), but Imy future sound fusing my present technological
move to an E flat (that does not exist in the keyrecordings with their past arrangement innovation.
of F) from a B flat I had just played, I've