How to Easily Move from One Key to Another - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
OneEye
It's easier if you learn more scales aside the Major scale
such as C Harmonic MAJOR and A harmonic min
the 2, 4, b6, 7 are all possible full diminished chord ( common/pivot chords)
It'll overlap in B dim/G7 into C MAJOR or C min
D dim/Bb7 into Eb MAJOR or Eb min
F dim/C#7 into F# MAJOR or F# min
Ab/G# dim/E7 into A MAJOR or A min
or you can simply INSERT a dim or augmented chord as a leading tone
into whatever TONIC...Major or min
such as A min Bb/A# dim into B MAJOR or B min
The Bb chord....most common inserted as Bb Major
The modes are just lydian #6 lyd #5, #6 or Lyd #2. #6
In other words you can alter that chord to whatever
You can use Bb Maj to CYCLE DOWN to the 4th
Bb MAJOR/Gmin
Bb lydian to F MAJOR/Dmin
Bb mix to Eb MAJOR/C min
or play it as Bb dim into B MAJOR or B min
or extend it....Bb dim C7 into F min or F MAJOR
or Bb dim C dim into C# MAJOR or C# min
or play A min B7 ( D# dim) into E MAJOR or E min
so how would I play C MAJOR/Amin to F# MAJOR???
You can also use the N6 after MAJOR's TONIC
I would simply play C MAJOR....G Maj F# Maj
or C Maj Ddim into D#min/F# MAJOR
or C MAJ G Maj F dim into F# MAJOR/D# min
I can easily play back to C MAJOR/A min
F# MAJOR....B Maj7....C#7 D dim E7 into A MAJOR or A min
The Db/C# Maj C#7 C# aug is also the N6 to C MAJOR
The D dim is the common pivot chord
as D dor #4 to A harmonic min or D dor b5 to C HArmonic major
or D lyd b3 E mix b2 to A harmonic MAJOR....
be the N6 to C# Harmonic min /E MAJOR
D maj7 E7
D dim E7
D Maj B min E7 into A min
D dim E dim into F min Ab maj G7 into C MAJOR
or from the A melodic min....A min....D7 ......E7
A min....D7 into G MAJOR B min7 E min
it's pretty much any chord degree within the 12
I can simply play A min F7 into Bb MAJOR or Bb min/Db MAJOR
that's also A dim/F7..or a simply F Maj or F aug....A into Bb
A min FMaj into Bb min Db Maj C dim D7 into G MAJOR/E min...if you want
The C dim D7 are the 4, 5, chords to G harmonic MAJOR or Harmonic min
or i can play C dim D dim into Eb Major Bb Maj Ab Maj G7 into C min...if you want
They can also be N6 to B MAJOR or B min
Notice the C#7 and E7 are b3 intervals apart...
You can also stack dominant chords every b3 interval
Harmonic min b5 and melodic min b5 = full dim W/H
dorian b2, #4 and lydian b2, b7 = Full diminished H/W....( this)
it's SYMMETRICAL...you can stack it...1, 3, 5, 7...
I used the lyd DOMINANT b2...for a reason....just so you'll SEE it.
or I played C# phryian b4 ( possible DOMINANT)
D lyd b3,,,,possible min or dim
E min b2 E7
or E7 and G7 are b3 intervals apart..
E7 into A min
G7 into C MAJOR
reply
It's easier if you learn more scales aside the Major scale
such as C Harmonic MAJOR and A harmonic min
the 2, 4, b6, 7 are all possible full diminished chord ( common/pivot chords)
It'll overlap in B dim/G7 into C MAJOR or C min
D dim/Bb7 into Eb MAJOR or Eb min
F dim/C#7 into F# MAJOR or F# min
Ab/G# dim/E7 into A MAJOR or A min
or you can simply INSERT a dim or augmented chord as a leading tone
into whatever TONIC...Major or min
such as A min Bb/A# dim into B MAJOR or B min
The Bb chord....most common inserted as Bb Major
The modes are just lydian #6 lyd #5, #6 or Lyd #2. #6
In other words you can alter that chord to whatever
You can use Bb Maj to CYCLE DOWN to the 4th
Bb MAJOR/Gmin
Bb lydian to F MAJOR/Dmin
Bb mix to Eb MAJOR/C min
or play it as Bb dim into B MAJOR or B min
or extend it....Bb dim C7 into F min or F MAJOR
or Bb dim C dim into C# MAJOR or C# min
or play A min B7 ( D# dim) into E MAJOR or E min
so how would I play C MAJOR/Amin to F# MAJOR???
You can also use the N6 after MAJOR's TONIC
I would simply play C MAJOR....G Maj F# Maj
or C Maj Ddim into D#min/F# MAJOR
or C MAJ G Maj F dim into F# MAJOR/D# min
I can easily play back to C MAJOR/A min
F# MAJOR....B Maj7....C#7 D dim E7 into A MAJOR or A min
The Db/C# Maj C#7 C# aug is also the N6 to C MAJOR
The D dim is the common pivot chord
as D dor #4 to A harmonic min or D dor b5 to C HArmonic major
or D lyd b3 E mix b2 to A harmonic MAJOR....
be the N6 to C# Harmonic min /E MAJOR
D maj7 E7
D dim E7
D Maj B min E7 into A min
D dim E dim into F min Ab maj G7 into C MAJOR
or from the A melodic min....A min....D7 ......E7
A min....D7 into G MAJOR B min7 E min
it's pretty much any chord degree within the 12
I can simply play A min F7 into Bb MAJOR or Bb min/Db MAJOR
that's also A dim/F7..or a simply F Maj or F aug....A into Bb
A min FMaj into Bb min Db Maj C dim D7 into G MAJOR/E min...if you want
The C dim D7 are the 4, 5, chords to G harmonic MAJOR or Harmonic min
or i can play C dim D dim into Eb Major Bb Maj Ab Maj G7 into C min...if you want
They can also be N6 to B MAJOR or B min
Notice the C#7 and E7 are b3 intervals apart...
You can also stack dominant chords every b3 interval
Harmonic min b5 and melodic min b5 = full dim W/H
dorian b2, #4 and lydian b2, b7 = Full diminished H/W....( this)
it's SYMMETRICAL...you can stack it...1, 3, 5, 7...
I used the lyd DOMINANT b2...for a reason....just so you'll SEE it.
or I played C# phryian b4 ( possible DOMINANT)
D lyd b3,,,,possible min or dim
E min b2 E7
or E7 and G7 are b3 intervals apart..
E7 into A min
G7 into C MAJOR
reply
Mark
What's your opinion on the pivot chord being the dominant of the new key? Maybe it was only Walter Piston (Harmony, 5th ed. p224) that had a problem with it, i.e.
-The most logical pivot chord will be one that has a simple function in both keys. That means that the pivot chord should not be the dominant of the second key, because that chord would not normally be a fundamental chord in the first key. (Modulation to the subdominant key, as from C to F, is an exception to this caveat.)-
Of course, the only available dominant chords in the old diatonic key are I (modulate to IV - OK), V (the music is already in this key!), and IV. I've just tried it and modulating from C to Bb via a pivot chord of F seems uncontroversial to me. Thanks.
reply
What's your opinion on the pivot chord being the dominant of the new key? Maybe it was only Walter Piston (Harmony, 5th ed. p224) that had a problem with it, i.e.
-The most logical pivot chord will be one that has a simple function in both keys. That means that the pivot chord should not be the dominant of the second key, because that chord would not normally be a fundamental chord in the first key. (Modulation to the subdominant key, as from C to F, is an exception to this caveat.)-
Of course, the only available dominant chords in the old diatonic key are I (modulate to IV - OK), V (the music is already in this key!), and IV. I've just tried it and modulating from C to Bb via a pivot chord of F seems uncontroversial to me. Thanks.
reply
ilias
Hello, i really like your videos. I have one observation regarding the pivot chords. If you wanna move from one key to the next one in the clockwise direction of the circle (circle of fifths), the pivot chords seem always to be the I, III, V and VI of the original key. On the other hand, in the counter-clockwise direction of the circle (circle of fourths), the pivot chords are always the I, II, IV and VI of the original key. Just thought it would be a helpful shortcut.
reply
Hello, i really like your videos. I have one observation regarding the pivot chords. If you wanna move from one key to the next one in the clockwise direction of the circle (circle of fifths), the pivot chords seem always to be the I, III, V and VI of the original key. On the other hand, in the counter-clockwise direction of the circle (circle of fourths), the pivot chords are always the I, II, IV and VI of the original key. Just thought it would be a helpful shortcut.
reply
wayne
How can a musician quickly think of the 3rds in a key are the 7ths in another key and vice versa the 7th degree in one key is the 3rd degree in another key. How can a musician play a 3rd and thinking of which keys that 3rd is the 7th degree in another key and vice versa taking the 7th degree in one key and it will be the 3rd in another key. I'm not sure what this type of modulation is called but the 3rd in one key will be the 7th in another key or vice versa.
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How can a musician quickly think of the 3rds in a key are the 7ths in another key and vice versa the 7th degree in one key is the 3rd degree in another key. How can a musician play a 3rd and thinking of which keys that 3rd is the 7th degree in another key and vice versa taking the 7th degree in one key and it will be the 3rd in another key. I'm not sure what this type of modulation is called but the 3rd in one key will be the 7th in another key or vice versa.
reply
mr.
I have a question. In typical pop music, say a song in c major. Often times on the last chorus, you will hear a modulation up to a different key. Are they any rules for this? Are they normally just going up one key, say from c major to d major, or just up a half step to c# major? Sometimes they will continue modulating up for a third, then a fourth chorus. I'm just curious how this is typically done. Thank you for your wonderful instruction.
reply
I have a question. In typical pop music, say a song in c major. Often times on the last chorus, you will hear a modulation up to a different key. Are they any rules for this? Are they normally just going up one key, say from c major to d major, or just up a half step to c# major? Sometimes they will continue modulating up for a third, then a fourth chorus. I'm just curious how this is typically done. Thank you for your wonderful instruction.
reply
jessy
HI
1) I would like to know if the aural dictation course fits a beginner in music..
2) I would like to know if I can pay the course through my phone but watch it in my laptop, or desktop , without having to pay twice for the same course..
I actually bought a masterclass on internet, and I couldn't read the videos on my computer so I had to play it on a different device
Thank you Sir
reply
HI
1) I would like to know if the aural dictation course fits a beginner in music..
2) I would like to know if I can pay the course through my phone but watch it in my laptop, or desktop , without having to pay twice for the same course..
I actually bought a masterclass on internet, and I couldn't read the videos on my computer so I had to play it on a different device
Thank you Sir
reply
The
I understand the idea of the pivot key. I don't understand where to use it. Say you have 4 bars in one key, followed by 4 bars in a different key. Should the pivot key be used for bar 4 or bar 5 or should an extra bar be placed between them which uses the pivot key? Or, should the pivot key be used in both bars 4 and 5 with the new key scale being used in bar 5?
reply
I understand the idea of the pivot key. I don't understand where to use it. Say you have 4 bars in one key, followed by 4 bars in a different key. Should the pivot key be used for bar 4 or bar 5 or should an extra bar be placed between them which uses the pivot key? Or, should the pivot key be used in both bars 4 and 5 with the new key scale being used in bar 5?
reply
Martin
It seemed to me that it is only when the accidentals are employed that the modulation is complete. It would be interesting to have your thoughts on establishing a new key. Also the opposite idea of introducing accidentals such as D maj chord in the key of C that fail to modulate.
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It seemed to me that it is only when the accidentals are employed that the modulation is complete. It would be interesting to have your thoughts on establishing a new key. Also the opposite idea of introducing accidentals such as D maj chord in the key of C that fail to modulate.
reply
Raymond
I really appreciate the clarity of your explanations, meaning it's actually possible for 'beginners' to follow and understand - in contrast to other videos which are much more demonstrations of the player's virtuosity and impossible for beginners to learn from. Thank you.
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I really appreciate the clarity of your explanations, meaning it's actually possible for 'beginners' to follow and understand - in contrast to other videos which are much more demonstrations of the player's virtuosity and impossible for beginners to learn from. Thank you.
reply
Yvonne
Although as a child I learned the piano but did not get taught theory. Thankyou for making this so exciting wish my 79+ year old brain could work better Thankyou for this exciting journey Yvonne from northern ireland
reply
Although as a child I learned the piano but did not get taught theory. Thankyou for making this so exciting wish my 79+ year old brain could work better Thankyou for this exciting journey Yvonne from northern ireland
reply
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