In the previous lesson we covered three common techniques for creating chord progressions from scales and harmonic principles. Now lets continue with the following examples.
4. Pivot or common chords are often used to to temporary (or actual) modulation into a new key center. See examples below:
C major to F major to C major.
C //// Dm7 //// Em7 //// F //// C //// Gm //// C //// Gm //// F //// Dm //// G7 ////
The F major is the four of C major and the one of F major.
The D minor is the sixth of F major and the two of C major.
This shows a temporary modulation.
C major to F major to B flat major.
C //// G //// Am //// Bb //// F //// Eb //// Dm //// F //// Bb ////
Am is the three of F major and the sixth of C major
F major is the five of B flat major
C major to D major
Am //// G //// C //// Am //// G //// D //// Bm //// Em //// A7sus // A //
G is the five of C major and the four of D major
The last two examples shows an actual modulation.
C natural minor to C major
Cm //// Fm //// Dm7b5 //// Cm //// Ab //// Dm7b5 //// G7 //// C maj ////
Many times the v minor chord (Gm) is substituted with the dominant seventh chord (G7).
Also going from the minor key to the major is called Picardy Third.
Am to Bb minor
Am //// ///// Bbm //// ////
This is called chromatic modulation.
Assignment record the previous progressions and play the given scale forms
for each key. Later take these progression and do in all keys.
Now transpose these to each position (register) of your instrument, then to all 15 keys.
All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music
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