![]() ![]() When you use an energy boost, you’re always moving to the right on a piano keyboard. Then mix into a song in 4A (a two-semitone jump), and note how it sounds. ![]() ![]() For example, start with a song in 2A and listen closely to the melody and overall feel of the song. Obviously, the effect increases when you double the boost. When you play your next tune in 7A, you’ll experience an energy-boost mix. To go up two semitones, just add two to your current Camelot number, so if you’re in C minor (5A), add two and you’ll get D minor (7A). For example, if you’re playing a song in E-flat minor (2A), you’ll need to mix it into a song in E minor (9A). To go up one semitone using the Camelot Wheel, just add seven to the number of your current track. (It chills our hearts to say it, but Barry Manilow and Celine Dion are probably the biggest proponents of key modulation you usually hear it toward the end of one of their songs, when the key keeps changing and the melody seems to be “climbing.”) This is more commonly referred to among musicians as modulating keys, and has been in use for decades in a lot of pop music. Going from C to D (two semitones) is the best mix. For example, if you are in C minor, your next key should be D-flat major (one semitone), or D minor (two semitones, or one whole tone). This happens when you mix into a key that is one or two semitones higher than your current key. If you want to give your dance floor a quick burst of excitement at any point in your set, an energy-boosting mix is the way to do it. But moving around the Camelot Wheel to do harmonically related mixes, like the ones we’re suggesting here, takes practice. As we discussed in Chapter 2, once you’ve labeled your tracks using the Camelot code, you can move quickly from one song to the next by simply glancing at the key code. So if we can go from 8B to 9A, why can’t we go from 8B to 7A? The scales of 8B and 7A contain dissonant intervals, so the mix wouldn’t work harmonically.Īgain, it’s important to keep in mind that mixing harmonically takes a bit of preparation before your gig. You can extrapolate this technique to any key, adding one to the Camelot key if going from B to A (5B > 6A), or subtracting one if going from A to B (8A > 7B). This sounds great because the individual notes of the two keys are harmonically related. Tracks with simple melodies usually yield the best results if they’re too complex, your mix can go off the rails.Īnother interesting trick is to mix diagonally on the Camelot Wheel from 8B into 9A or from 9A into 8B. It’s not always compatible, so you have to experiment with individual songs before you bring it into a set, but some songs will sound insanely cool when you mix them like this. So if you mix from 10B into 2B, it sounds dissonant at first, but sometimes it works. Guetta mentioned a technique that translates into the following: You can add four to your current Camelot code and get some unusual and compelling results. There are other key combinations that work outside the harmonically compatible group (i.e., 5A > 4A / 5B / 6A) we described in Chapter 2. Without getting into the details of music theory (which you can research on your own), it’s true that any musical key you choose on the Camelot Wheel shares a special harmonic relationship with certain other keys. Remember back in Chapter 2 when we discussed dissonance (clashing keys in a harmonic mix) as something to avoid? Well, that’s not always the case. You can’t be a true musician if you don’t have chops.ĭavid Guetta brought this point home to us by describing a technique that he had been using himself for a long time we couldn’t believe that we’d never thought of it. ![]() We can’t say it enough, because it bears repeating: DJing isn’t just about playing records anymore it’s a musical art form that requires hard work, dedication and a keen ear for new “chops” to add to your repertoire. When you really start to dig into the more specialized secrets of modern DJing, a whole new dimension of creativity reveals itself. ![]()
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