As a DJ in the electronic music scene you have a hard time creating tracklists unless you’re playing exclusively with vinyl, because then it’s even worse: you have to write everything down manually. I’m talking about correct (meta) tags in audio files.
I do not want to go into detail about the horror that most DJs know anyway, but talk more about the correct way of tagging. And actually, that’s no rocket science, there’s not much to explain.
That’s the minimum amount of information that should be included in tags:
Artist in the artist field
Title in the title field
Label in the publisher field
In the (free!) software “MP3 Tag” (highly recommended, oh, and don’t mind the name, it works with all taggable file formats) the correct string would look exactly like this:
%artist% - %title% '['%publisher%']'
(The square brackets won’t work without the ‘ around them).
so that the filename can look like this when you convert tags to file names (example):
OceanLab – Breaking Ties (Flow Mix) [Anjunabeats].mp3
Another really great (and basically free!) software I’d recommend is ReNamer. I use this — in combination with MP3 Tag — for many years.
If you have any questions, I will be happy to help in the comments below.
As both a DJ and composer, the Circle of Fifth or the Camelot Key Wheel system — amongst others — have always been handy tools for me to write and mix music harmonically. There are just too many options in chord progressions than I could ever have in my memory (maybe you can, but I don’t). Plus, I personally use 3 different DJ applications and 3 different DAWs for music production alone, for different purposes.
So yeah, I could always have a look at above mentioned helpers to orientate myself through the notes and chords jungle, in case needed, which is not always the case. I have the most common chords in my head. Just not always.
As a composer I’m fine with the musical key/chord system, i.e. “A minor“, but as a DJ it isn’t very likely (for me, again) to remember all the musical chords to know what to mix into what. So, smart people came up with different systems like the Camelot Keys (Mixed in Key, which I prefer, because of its accuracy) or the Open Keys (Traktor). Which is basically a range of 12 keys for each gender, major and minor chords. “A minor” is 8A (Camelot Key) or 1m (Open Key). In a nutshell: if you mix 1A into 2A (and so forth, up until 12A and then into 1A again) you’re generally fine. Your mixing transitions will always be harmonic, no key clashes. This example is the very basic part of harmonic mixing or composing. And also a bit boring if you do that all the time. It becomes really good and interesting when you use all the options within the world of chord progressions.
What I was missing in all those years of composing and DJing was ONE chart (to rule them all) that shows me ALL key/chord systems and their equivalents, their piano keys (very useful for composing) and their harmonic keys/chords. I searched the net in order to find out if someone did this, but no one did. At least I couldn’t find it.
So, I did it myself. 8 hours work and I had what I was looking for. And since I guess this could be useful for every musician/DJ, I want to share it here with you. This is how it looks like (click to open the full resolution file):
You can download the high-res JPG above, print it out and use it for yourself, if you like. Here’s a PDF and the original EXCEL version of it, in case you want to edit/modify something for your needs (let me know when you find mistakes or when you improved it!):
WHAT DOES IT DO, HOW DO I USE THIS?
Let’s take an example for a composing or mixing situation:
The chord we’re working with at the moment is A minor (or 8A, or 1m). What shall be next? Everything in the table below — around the 8A — is possible, it will be harmonic. The closer to the 8A it is the more harmonic it’ll be.
Western Music Scale
Piano Chord Keys
DJ Keys up/down
D | F | A
C | E | G
A | C | E
Same key (tonic)
E | G | B
A# | C# | F
Low energy boost
B | D | F#
High energy boost (supertonic)
G | B | D#
Low energy drain
G | A# | D
High energy drain (leading tone)
But your decision what to do next is depending on the purpose. What kind of “feel” do you want to give your mix or composition?
Here are some possible chord progression scenarios, working with the Camelot Keys (which I prefer, at least for DJing), starting with 8A:
That’s how I call it, it’s kind of a “secure standard”, nothing special, it’s just flowing along:
8A > 9A > 10A … 12A > 1A > 2A and so forth, until you’re at 7A and back into 8A again
Here you have a longer and progressive wave of energy rising, until it falls back to normal at 7A again, just like an ocean wave crashing and the next one building up again.
The “Wild Ocean”
It’s a bit stormy, and the waters stirred up, but everything is still harmonic and in place. This is the most “interesting” way of mixing, things shouldn’t become boring:
8A > 8B (relative major) > 9A > 4A (+7 DJ keys, low energy boost) > 4B (relative major) > 6B (+2 DJ keys, high energy boost) > 7B > 2B (+7 DJ keys, low energy boost) > 4B (+2 DJ keys, high energy boost) > 5B and so forth
I could make up a hell of a lot more examples now (with even sillier names), but you most probably already get the idea. The options are really endless, and you’ll always be composing or DJing harmonic. The above scenarios are just examples. Find out what works for yourself, I’m sure you’ll have fun experimenting with chord progressions, using this nifty chart. Oh, and don’t mind the silly names … it’s just about giving things a name. 😉
It’s free! Download, share, modify, re-publish and generally do with it whatever you want. But please, don’t pretend you did this. Credit would be nice (and fair), but is no condition.
Now, if you’d head over to bandcamp and buy my music, that’ll be rather nice:
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