What to Do If a Song Is in More Than One Key
- Diana Mascari
- May 26
- 7 min read
Updated: May 27
Although most songs are in one key, there are exceptions to this rule. Can't remember how to figure out the key of a song? Get a refresher on how to do this by visiting my blog: How to Identify the Key of Any Song in No Time
Although there are quite a few songs in this category of multiple keys, I've chosen two standards from the Great American Songbook that start in a key that is different from the song. In addition, I'd like to identify two standards that are in one key but go into another key for the bridge.
The process you need to follow for dealing with a song that is in more than one key is the same for all four songs and involves something I call the DNA of a song.
Here's the blog: Its All About the DNA, Your key to Better Piano Playing
4 Songs That Are in More Than One Key:
Two standards that are in one key but go into another key for the bridge
Body and Soul
Composer: Johnny Green
Lyricists: Edward Heyman, Robert Sour, and Frank Eyton
Year: 1930
Originally written for British actress and singer Gertrude Lawrence, Body and Soul made its American debut in the Broadway revue Three's a Crowd. It is a well-loved standard in both the popular and jazz repertoires.
Body and Soul is in the key of D flat Major. THe key signature that you see at the beginning of the song shows five flats: Bb-Eb-Ab-Db-Gb.
The bridge moves up one half step to D Major. The key signature (which is actually shown in the music) is for two sharps: F# & C#
How Do You Move Smoothly from D♭ Major to the Bridge in D Major—and Back Again?
To make this kind of key change sound natural, you’ll want to use the ii–V chords of the key you're heading into. For example, if you're moving from a verse in D♭ Major to a bridge in D Major, you can “set up” the new key by playing the ii–V in D Major—that’s E minor 7 (Em7) to A7. This short progression helps the ear adjust and makes the transition feel smooth and musical.
Related article: What's the minor line cliché?
When it’s time to return to D♭ Major, you reverse the process. Use the ii–V in D♭, which is E♭ minor 7 (E♭m7) to A♭7. This gently guides you back home to the original key.
With a little practice, these ii–V transitions will become second nature—and they’ll make your playing sound polished and professional.
Smoke Gets in Your Eyes
Composer: Jerome Kern
Lyricist: Otto Harbach
Year: 1933
Originally written for the Broadway musical Roberta, Smoke Gets in Your Eyes became one of Jerome Kern’s most enduring ballads. It has become a favorite among both vocalists and instrumentalists in the jazz and pop traditions.
On an added note, the Platters' 1958 hit recording brought the song to a new generation, cementing its place in American musical history.
How Do You Move Smoothly from E♭ Major to a Bridge in C♭ Major—and Back Again?
To create a smooth transition between keys, you’ll want to use the ii–V chords of the new key. If you're moving from a section in E♭ Major into a bridge in C♭ Major, start by playing the ii–V in C♭. That means playing D♭ minor 7 (D♭m7) followed by G♭7. This short progression helps your ear adjust and makes the key change feel natural.
Then, when you’re ready to return to E♭ Major, you do the same thing in reverse. Use the ii–V in E♭, which is F minor 7 (Fm7) to B♭7, and you’ll glide right back into the original key with ease.
These transitions don’t just sound good—they make your playing feel more connected and expressive. Once you get the hang of ii–V progressions, you’ll be able to move between keys with confidence and style.
Two standards that start in a key that is different from the key of the song.
Only Trust Your Heart
Composer: Benny Carter
Lyricist: Sammy Cahn
Year: 1964
Only Trust Your Heart is a timeless ballad composed by jazz legend Benny Carter, with lyrics by Sammy Cahn. Originally written for the short-lived 1964 musical The Man in the Dog Suit, the song found a second life in the jazz world, where it became a favorite of vocalists and instrumentalists alike.
It works equally well in both ballad and medium swing interpretations.
Artists such as Diana Krall, João Gilberto, and Stan Getz have recorded memorable versions, adding to the song’s stature in the jazz repertoire.
When a Song Starts in a Different Key Than It Ends In: What’s Really Going On?
I’ve always found it a little tricky—but fascinating—when a song begins in one key but ultimately turns out to be in another. It raises the question: What key am I really hearing? Is it the one suggested by the key signature? Or is it the key the song opens with?
Take “Only Trust Your Heart” as an example. When I first sat down to learn it, I hadn’t heard it before. So I did what I usually do—I just started playing. The piece begins with an F Major 7 chord, so naturally, I assumed I was in the key of F. As I continued playing, that assumption seemed to hold up—especially since the melody and chords leaned heavily on F major throughout the next few phrases.
But then came a surprise: on the very last line of the song, suddenly there was a classic ii–V–I progression in C major—D minor 7 (ii) to G7 (V) to C Major 7 (I). And immediately after that, another ii–V appeared—G minor 7 to C7—but this time pointing right back to F Major!
So here’s the twist: even though the song is technically in C Major, much of its character and emotional color lives in the key of F Major. That’s what makes it so rich—and a little unpredictable.
The big takeaway? Learning to recognize ii–V–I progressions is a powerful tool. It gives you a clearer sense of the song’s real structure and helps you move smoothly between keys. Once you spot those harmonic signposts, you have the freedom to shift between tonal centers with confidence—just like the composer intended.
Just Friends - see my video performance below
Composer: John Klenner
Lyricist: Sam M. Lewis
Year: 1931
Just Friends is a classic American standard written in 1931 by John Klenner (music) and Sam M. Lewis (lyrics). Originally introduced as a popular ballad in the early 1930s, the song gained iconic status in the jazz world after Charlie Parker’s groundbreaking 1949 recording with strings, which transformed it into a jazz standard.
Just Firends is an ideal song for jazz improvisation. It has been recorded by countless jazz greats, including Chet Baker, Sarah Vaughan, Sonny Stitt, and Joe Pass.
The final tune in this group—Just Friends—is one I’ve enjoyed playing in a variety of ways over the years. Sometimes it’s in a swing feel, other times with a Latin groove, and occasionally I’ve even blended both. I’ve performed it solo, and in duos, trios, and quartets. Yet no matter how many times I’ve played it, I always find myself at the end wanting to stay in the key of G major (which has one sharp—F#).
Here’s where it gets interesting: the song opens with a G7 chord, which is the dominant (V) of C major, not G. So even though much of the tune explores G major, the second half clearly starts in C major before returning to G. That can make the ending feel a bit unresolved—especially if you want to loop back and stay in G major for another chorus or to repeat the tune.
The solution? At the end of the song, play a ii–V in C major—that’s D minor 7 to G7—to guide you smoothly back to the C major chord that starts the piece. It’s a simple but effective way to keep the music flowing and connected.
Conclusion
The four songs mentioned here are just a few examples of tunes that move through more than one key.
As you explore songs like these, keep a few things in mind: First, get comfortable identifying the key you're in. Next, learn to spot the ii–V–I progressions, which are the building blocks of most key changes. And finally, focus on making smooth, confident transitions from one key to another. With time and practice, these skills will become second nature—and your playing will sound more polished, expressive, and musical because of it.
Diana Mascari plays Just Friends
Just Friends-arranged and performed by Diana Mascari
We’ll talk about your musical background, your goals, and how we can make piano playing joyful and rewarding—no matter where you're starting from.
About Diana Mascari
About Diana Mascari - Online Piano Teacher
Diana Mascari has taught piano to hundreds of adults and children for more than 47 years.
She holds two Masters of Music degrees from New England Conservatory and taught keyboard harmony to music majors while pursuing doctoral studies at Boston University. She was the music director for a multi-cultural Presbyterian Church for four decades, and her jazz and classical compositions have been performed worldwide. Diana has been performing for more than 50 years. From solo piano to commercial groups touring the East Coast to leading her own jazz ensembles at colleges and jazz clubs throughout New England.
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