5. Another common technique is the use of unresolved modulations. These are chord progressions that go into a new key without resolving to the I chord. See Below:
Fm//// Bb7//// Gm//// C7//// Am//// D7//// Dm//// G7//// Em//// A7//// Fm//// Bb7////
Eb major F major G major C major D major Eb major
Assignment: Record this progression slowly and play the indicated key center for each new temporary key center.
6. Chromatic half steps between scale or modal family of chords is often used.
It can be used temporally and connect chords that pertain to the scale were using or it can be used to modulate to keys whose notes do not occur in the original key. See some examples below:
C //// Em //// Db7 //// Dm7 //// G7 //// (the D flat dominant seventh is a bII7 chord)
This is using the chromatic chord and still staying in the same key
C //// F#7 //// Fm //// Bb //// Eb ////
This is using the chromatic chord and moving to the new key of E flat major
Often a pedal tone is used to make a chromatic transition smooth to the ear:
C //// Ab //// Fm //// Db maj 7 //// C ////
The C note is the pedal tone here
Many times the dominant seventh chord (V to I) is used:
C //// A7 //// Dm //// B7 //// Em //// C#7 //// F#m ////B7 //// E maj ////
This is also sometimes called secondary dominents
More common examples:
C //// Em //// Db7 //// Dm //// C#7 //// C7sus4 //// F maj ////
C//// Eb7 //// Dm7 //// G7 ////
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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