A few years ago someone told me a little formula for making a transition between two tunes in different keys. Say from a G to A or D to E. What ever.
I just can’t remember it. It works real well too. I think it was something like play the 5th chord of the original key. Or maybe it was the 5th chord of the new key.
So it was something like if I go from D to E I would play an A or a B and then something else.
Anyone know?
I am aware there are LOTS of ways to do this but this was a real simple formula.
I never new there was a “formula”, but one of the best ways to lead into a new key is to play the dominant of the upcoming key, or, even better, the dominant seventh. So, if you’re playing in D, and your modulation is into E, the best way to anticipate the switch to E is to play a B7 chord, (B D# F# A). The chord is the VI(7) in the current key (normally the 6 is minor in a major key), so it does create a “pull” to the new key.
If you’re going into the relative minor (D major to B minor,) a cool way to go is by the flatted 6th: Dmaj, Gmaj, F#dom7, bingo: “B major!”
To Paralell minor; ( Dmaj to D min) the sudden shock is the most effective : right from D to d, no pivot chords!
But by far THE best way, IMHO, to slip + slide around tonalities like a demented stork run amok is the fully diminished 7th chord:
(there are only three:)
C Eb F# A
C# E G Bb
D F G# B
By extension, one can use them over pedal tones, or make then into insanely complex ninth chords: e.g:
G B D F Ab (play it over a C pedal tone, then reslove the chord into C maj or min) Thrilling!!!
Also, by the Neapolitan sixth ( chords on the flatted 2nd degree)
C E G
Db F Ab (B)
C E G Bb
gets you into F major/minor
last but not least, let’s dig the augmented sixth chord:
Ab C D F#
Which leads nicely into G7, but really has a strong pull in several directions~ !
This is, of course, given that the tune starts on I. If the tune started on V, you’d probably want to use a IV as the transitional chord. Or a half-diminished ii.
Well if we’re talking about easy, simplified, basic, ways to modulate, then just go right into the next key, for crying out loud…thousands of pop songs modulate abruptly onto the supertonic major for the last verse(YAWN)…
What happened to the nicer, subtle, cunning, craftier ways of secondary dominant pivots, or transient harmonic relationships, vagrant chords, OR EVEN (dare I suggest…) a period where there’s no clear tonality whatsoever.
Variety being the spice of life, I personally prefer a modulation that leaves me guessing for a while, then resolves into an unexpected, yet welcome key.
Its not where yer goin, its how ya get there
So foist ya play in D,
den ya play A, ('cos A gots a big part in BOTH D +E)
den ya go to E.
(pssst…its called the circle of fifths…g,d,a,e,b,f#,c#,g#,Eb,Bb,f,c,g)
Sometimes I do this when going from an A minor tune to a G major tune on the concertina—it makes for a funky and energetic transition.
You end on the A, played with the left index finger, and then you drop the rest of the left hand on the c, D, and F# and give the box a good tug. D7 has enough in common with Amin that it really works nice.
On the other hand, this is the kind of thing you do on rare occasion, and then only if you really have some momentum going. Concertina players like Micheal O’Raghallaigh and Michael Rooney are known to pull one of these funky transition chords now and then, and have a really energetic style under which it sounds really nice.
A diminished vii is really just a V(7) without a root anyway, so it’s kinda the same thing. (I took lotsa theory, too, and all I got out of it is the ability to have this lovely esoteric discussion).
Bottom line, try the suggestions, and in the end, do what SOUNDS GOOD.
Also, by the Neapolitan sixth ( chords on the flatted 2nd degree)
C E G
Db F Ab (B)
C E G Bb
gets you into F major/minor
Could you talk a little more about this? Your first and third examples are just the V and V7 chords of the new key as far as I can tell. I’m probably missing something.
I don’t think I quite understand your aug6 chord Ab C D F# either. Wouldn’t an Ab aug6 be Ab C E F#? This seems like a species of tritone sub to me (i.e. the Ab dom7 subbing for the D dom7), which is very cool to use, especially going into a minor key.
The “Neapolitan Sixth chord” is a nickname for a major triad appearing on the flat supertonic scale degree of any key. e.g.:
in C major, N6 spells: Db, F, Ab
in E minor, N6 spells: F, A, C
in Ab major, N6 spells: A, C#, E
When the chord becomes a dominant 7th (in C maj: Db, F, Ab, B);
it can resolve to a remote tonic a tritone away, or set up the previous tonic as a dominant,
(in other words, the “CMaj, Db Maj, C7” progression is one good way to get to F major from C major)
capezsio?
NOW; the “augmented sixth chord” is yet another nickname for a non-diatonic functioning triad.
(I do understand your reasoning regarding the Ab C E F# spelling!, That’s the sensible explanation )
There are three types of Augmented 6th chords (“+6” for short , here)
All in C major:
Italian +6 : Ab C F#
German +6: Ab C Eb F# (this the dominant you mentioned)
French +6: Ab C D F# (my personal fave)
They have a role similar to the N6; but tend to re-inforce the tonic rather than deny it, e.g:
(C major)
It+6: Ab C F#
V7: GBDF
I: CEG
try that progression + you’ll get the idea. Then sub in the German + French triads.
cool, eh?
That’s pretty interesting but how is the “major triad appearing on the flat supertonic scale degree of any key” going to work if I want to go up just one step. Like, for example, a D to an E?
well ro3b asked me SPECIFICALLY to explain, so I did.
as for modulating up a Maj 2nd, try (as has already been suggested)
going around the circle of fifths:
Thanks, CHasR, that is cool. Always good to have more stuff in the toolbox.
That’s pretty interesting but how is the “major triad appearing on the flat supertonic scale degree of any key” going to work if I want to go up just one step. Like, for example, a D to an E?
You’d play an F7 chord, and resolve it into the key of E. (Right, Chas?) Or go F - B7 - E, i.e. resolving the F to the tonic a tritone away, which is B7, the dominant in the key of E, which would sound pretty wacky over the last bar of a tune in D. I like it!
I’d love to hear a good fiddler working these subs into a tune.
There’s just so, so many ways to modulate in & around any key…any idea of a pre-set, one size fits all formula is poppycock. So many things depend on what 's already happening in the music, what effect is wished for, etc.
HOpe this gives plenty of ideas for chord changs
cheers
