Why is this wrong? It's wrong because the modulation itself is a part of the composition. It's basically an approach that says: i have music A and music B (or A') and i need some "material" that's inbetween. Second: The big problem is the thinking that derives from "learning modulations": those with common chords, those with chromatic lines, those with enharmonic changes etc etc One can generalize some types of modulations, e.g. While I'm sure that some of the suggestions made here might contain some useful information, i'd like to mention the reason why i basically rather do not like that kind of "tips & tricks":įirst, better than learning some specific modulations, learns what's the underlying logic. Maj3rd (minor chord) to the 4th (major chord) into the b7th (minor) - New key. Fmaj - Dmin - Emaj.įrom major tonic, to the 6th minor, to the 3rd minor all using voice leading, then continue up (skipping the 1 and instead playing the b2nd) leading up into the 5th of your new key. Move down a semitone (from a major) by playing the 6th chord of the current key. a return to a triumphant theme) move down a fifth (In addition you can play the theme in major if it was minor before) Then move to the major 5th (of the tritone chord), this being the minor 6th of the new key.Įg: C min (starting key), F# maj, C#maj, Fmin (new key)įor a majestic change (ie. C major (5th of F) resolves to D minor (new key).įor a change in sound/scenery (but with the same melody material), once finished with the melody and are back on the tonic, begin the new section down a fourth.Ĭan be from any diatonic chord, using melody to lead into any of the three chords tones of the major tritone chord. Set up a chord - move instead to the chord a minor 3rd below the chord it was moving to.Į.g. F minor (1st of current key), Eb major (b7th of current key), A major (while pedalling the Eb), D major or minor. When ending a phrase on the b7th major chord (the dominant of a possible new key, a minor 3rd above the original) take a couple of bars to establish a new dominant, the major chord a b5th above, whilst pedalling the b7th.Į.g.
C minor (1st of current key), F minor (4th of current key), F#major (b6th of new key) Bb minor (1st of new key.) Sorry if any are confusing, kinda just jumbled them out, and have never fixed them up.Ĭhanging Key and Feeling from minor to major - Can be from any diatonic chord, using melody to lead into any of the three chords tones of the tritone chord (the b6 of the new key)Į.g. I have more, but I've gone old school with a little notepad to write things down in now. Here are some I had written down from transcribing. Wonder how long it took to get that dove shot? I don't think there's a better way to kick things off than with Bonnie Tyler.