Modulating With Parallel Chains

Another method that one can use is doing the Parallel ii-V7-I

Modulating w/ Parallel ii-V-I Chains

ii- V Chains

Some tunes chain ii-V progressions then resolve to I chord. Any ii-V’s can be used. They work well because of the strong movement (up a 4th) of each ii-V. The example below chains several ii- V’s. It begins with a ii-V in the key of C Major, adds a ii-V in Db
Major, ends with ii- V- I in E Major.

Dm7 G7 | Ebm7 Ab7 |F#m7 B7 | EMa7
(ii - V in C -------) (ii - V in Db --) (ii- V -I in E ----------)

You can also simplify ii-V by playing only I or ii scale across both chords.

Parallel ii- V

Like ii-V-I chains, ii-V’s often move up or down by a constant interval, creating a parallel movement.

Chain Interval Example
1/2-step up Dm7- G7, Ebm7- Ab7
1/2-step down Dm7- G7, C#m7- F#7 (the V and ii is an augmented 4th apart)
1-step up Dm7- G7, Em7- A7
1-step down Dm7- G7, Cm7- F7 (circle of fourths)
4th up Dm7-G7, Gm7-C7 (the V and ii are on the same pitch)

Modulating with Parallel V-I Chains

Minor ii-V and V-i Chains

Minor ii-V progressions can be chained together to modulate. The example below modulates from C minor to Db minor to E minor. The ii chords are m7-5 in quality. This gives the feeling of minor ii-V progressions, even though the minor i chord is not actually played.

Dm7-5 G7-9| Ebm7-5 Ab7+9 | F#m7-5 B7-9| Em7
(ii- V in C min) (ii-V in Db minor) (ii-V-i in E minor -----)

Modulating with minor ii-V chains

Minor V-i progressions can also be chained together to modulate to other keys. The example below modulates from C minor to F# minor to Bb minor.

Dm7-5 G7-9 | Cm7 C#7+9 | F#m7 F7 | Bbm7
(ii- V- i in C minor ----) (V- i in F# min) (V- i in Bb minor--)
....................................... ...........................

Using Minor ii-V and V-i Chains

1) A V chord can resolve to a new I chord by moving down a half step, or up or down an augmented 4th.

2) A V chord can also resolve to a substitute I chord, such as the vi or iii.

3) ii- V- I progressions can be chained together to modulate to another key. The interval between each progression can be random or parallel.

4) ii-V progressions and V-I progressions can be chained together to modulate to another key.

5) V-I progressions usually start in an even-numbered position (halfway through a bar if there are two chords per bar, or on an even-numbered bar if one chord per bar).

6) Consecutive major, minor, or dominant chords can be used to modulate quickly.


* Other Resources on Modulation:


http://ladydpiano.blogspot.com/2008/09/modulation-progression.html


http://ladydpiano.blogspot.com/2008/11/minor-chord-progressions.html


http://ladydpiano.blogspot.com/2008/11/harmony-progressions.html



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Modulation Progression

"In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization."
http://en.wikipedia.org/wiki/Modulation_(music)

WHAT IS MODULATION?

* Modulation Sites:


http://playpiano.com/101-tips/41-transposition-modulaions.htm


http://www.harmony.org.uk/book/modulation_basics.htm


http://www.andymilne.dial.pipex.com/Modulation.shtml


http://www.greghowlett.com/modulatel.aspx

TRY NOT USING THE MODULATION BUTTON!

Here is a routine you can practice every time you get to a keyboard to get you used to playing in all keys. It doesn't matter what key you start at, but I recommend starting at C:

Progression wise, I suggest practicing 7-3-6-2-5-1 the most because that is a common progression. Any time you want to modulate to another key, the best way to do it is by playing the 4 chord of your new key with the 5th of your new key in the bass:

Key C

C-C / D-E-G-C (1)
C-C / G-C-D-E
C-C / Ab-C-D-F
C-C / G-C-D-E
/ D, E
B / A-D-F (7)
E / Ab-C-D-G, F (3)
A / G-C-E (6)
D / Ab-C-D-F (2)
E / G-C-E
F / Ab-C-D-F
G / G-C-E (5)
G / F-G-C-D
G / F-G-B-D, C
C / D-E-G-C (1)

Modulation chord to Db: Ab / Gb-Ab-Bb-Db

Key Db

Db-Db / Eb-F-Ab-Db (1)
Db-Db / Ab-Db-Eb-F
Db-Db / A-Db-Eb-Gb
Db-Db / Ab-Db-Eb-F
/ Eb, F
C / Bb-Eb-Gb (7)
F / A-Db-Eb-Ab, G (6)
Bb / Ab-Db-F
Eb / A-Db-Eb-Gb (2)
F / Ab-Db-F
Gb / A-Db-Eb-Gb
Ab / Ab-Db-F (5)
Ab / Gb-Ab-Db-Eb
Ab / Gb-Ab-C-Eb, Db
Db / Eb-F-Ab-Db (1)

Modulation chord to D: A / G-A-B-D

Key D

D-D / E-F#-A-D (1)
D-D / A-D-E-F#
D-D / A#-D-E-G
D-D / A-D-E-F#
/ E, F#
C# / B-E-G (7)
F# / Bb-D-E-A, G (6)
B / A-D-F#
E / A#-D-E-G (2)
F# / A-D-F#
G# / A#-D-E-G
A / A-D-F# (5)
A / G-A-D-E
A / G-A-C#-E, D
D / E-F#-A-D (1)

Modulation chord to Eb: Bb / Ab-Bb-C-Eb

Key Eb

Eb-Eb / F-G-Bb-Eb (1)
Eb-Eb / Bb-Eb-F-G
Eb-Eb / B-Eb-F-Ab
Eb-Eb / Bb-Eb-F-G
/ F, G
D / C-F-Ab (7)
G / B-Eb-F-Bb, Ab (3)
C / Bb-Eb-G (6)
F / B-Eb-F-Ab (2)
G / Bb-Eb-G
Ab / B-Eb-F-Ab
Bb / Bb-Eb-G (5)
Bb / Ab-Bb-Eb-F
Bb / Ab-Bb-D-F, Eb
Eb / F-G-Bb-Eb

Modulation chord to E: B / A-B-C#-E

Key E

E-E / F#-G#-B-E (1)
E-E / B-E-F#-G#
E-E / B#-E-F#-A
E-E / B-E-F#-G#
/ F#, G#
D# / C#-F#-A (7)
G# / B#-E-F#-B, A (3)
C# / B-E-G# (6)
F# / B#-E-F#-A (2)
G# / B-E-G#
A / B#-E-F#-A
B / B-E-G# (5)
B / A-B-E-F#
B / A-B-D#-F#, E
E / F#-G#-B-E

Modulation chord to F: C / Bb-C-D-F

Key F

F-F / G-A-C-F (1)
F-F / C-F-G-A
F-F / Db-F-G-Bb
F-F / C-F-G-A
/ G, A
E / D-G-Bb (7)
A / Db-F-G-C, Bb (3)
D / C-F-A (6)
G / Db-F-G-Bb (2)
A / C-F-A
Bb / Db-F-G-Bb
C / C-F-A (5)
C / Bb-C-F-G
C / Bb-C-E-G, F
F / G-A-C-F (1)

Modulation chord to Gb: Db / Cb-Db-Eb-Gb

Key Gb

Gb-Gb / Ab-Bb-Db-Gb (1)
Gb-Gb / Db-Gb-Ab-Bb
Gb-Gb / D-Gb-Ab-Cb
Gb-Gb / Db-Gb-Ab-Bb
/ Ab, Bb
F / Eb-Ab-Cb (7)
Bb / D-Gb-Ab-Db, Cb (3)
Eb / Db-Gb-Bb (6)
Ab / D-Gb-Ab-Cb (2)
Bb / Db-Gb-Bb
Cb / D-Gb-Ab-Cb
Db / Db-Gb-Bb (5)
Db / Cb-Db-Gb-Ab
Db / Cb-Db-F-Ab, Gb
Gb / Ab-Bb-Db-Gb (1)

Modulation chord to G: D / C-D-E-G

Key G

G-G / A-B-D-G (1)
G-G / D-G-A-B
G-G / D#-G-A-C
G-G / D-G-A-B
/ A, B
F# / E-A-C (7)
B / D#-G-A-D, C (3)
E / D-G-B (6)
A / D#-G-A-C (2)
B / D-G-B
C / D#-G-A-C
D / D-G-B (5)
D / C-D-G-A
D / C-D-F#-A, G
G / A-B-D-G (1)

Modulation chord to Ab: Eb / Db-Eb-F-Ab

Key Ab

Ab-Ab / Bb-C-Eb-Ab (1)
Ab-Ab / Eb-Ab-Bb-C
Ab-Ab / Fb-Ab-Bb-Db
Ab-Ab / Eb-Ab-Bb-C
/ Bb, C
G / F-Bb-Db (7)
C / Fb-Ab-Bb-Eb, Db (3)
F / Eb-Ab-C (6)
Bb / Fb-Ab-Bb-Db (2)
C / Eb-Ab-C
Db / Fb-Ab-Bb-Db
Eb / Eb-Ab-C (5)
Eb / Db-Eb-Ab-Bb
Eb / Db-Eb-G-Bb, Ab
Ab / Bb-C-Eb-Ab (1)

Modulation chord to A: E / D-E-F#-A

Key A

A-A / B-C#-E-A (1)
A-A / E-A-B-C#
A-A / F-A-B-D
A-A / E-A-B-C#
/ B, C#
G# / F#-B-D (7)
C# / F-A-B-E, D (3)
F# / E-A-C# (6)
B / F-A-B-D (2)
C# / E-A-C#
D / F-A-B-D
E / E-A-C# (5)
E / D-E-A-B
E / D-E-G#-B, A
A / B-C#-E-A (1)

Modulation chord to Bb: F / Eb-F-G-Bb

Key Bb

Bb-Bb / C-D-F-Bb (1)
Bb-Bb / F-Bb-C-D
Bb-Bb / Gb-Bb-C-Eb
Bb-Bb / F-Bb-C-D
/ C, D
A / G-C-Eb (7)
D / Gb-Bb-C-F, Eb (3)
G / F-Bb-D (6)
C / Gb-Bb-C-Eb (2)
D / F-Bb-D
Eb / Gb-Bb-C-Eb
F / F-Bb-D (5)
F / Eb-F-Bb-C
F / Eb-F-A-C, Bb
Bb / C-D-F-Bb (1)

Modulation chord to B: F# / E-F#-G#-B

Key B

B-B / C#-D#-F#-B (1)
B-B / F#-B-C#-D#
B-B / G-B-C#-E
B-B / F#-B-C#-D#
/ C#, D#
A# / G#-C#-E (7)
D# / G-B-C#-F#, E (3)
G# / F#-B-D# (6)
C# / G-B-C#-E (2)
D# / F#-B-D#
E / G-B-C#-E
F# / F#-B-D# (5)
F# / E-F#-B-C#
F# / E-F#-A#-C#, B
B / C#-D#-F#-B (1)

Modulation chord back to C: G / F-G-A-C


Once you run through this every time you get a chance, you will find it easier to start playing in other keys.



http://www.LadyDpiano.com

Identifying Phrases

IDENTIFYING PHRASES

For a tune to make sense, it needs a structure, just as writing needs sentences and punctuations. Tunes are built from groups of notes that sound as though they belong together as an idea. These groups are known as PHRASES, and are usually separated by a tiny silence when the music is sung or played.

IDENTIFYING PHRASES: Musicians often disagree about where phrases start and finish. This is because there is often more than one possible INTERPRETATION. When you play music, try to hear which notes belong together. Phrases may be the same length, or start on the same beat of a measure. Songs may have a phrase for each line of words.

ANSWERING PHRASES: In some music, pairs of phrases of the same length sometimes seem to match each other. The first phrase seems to ask a question, and the second phrase to answer it. For example, the second phrase may seem to answer the first by ending on the tonic when the first phrase did not.

RHYTHM PATTERNS: Phrases often have a strong rhythm structure. A pattern may be repeated or varied within a phrase, between phrases, or even throughout a whole piece.

MELODIC PATTERNS: Phrases often contain patterns of notes that are repeated exactly, or changed by transposing them to a different pitch or varying the intervals.

SHOWING PHRASES: Composers usually do not show phrases in their music. Instead, they show how to play notes within phrases, using signs such as SLURS and STACCATOS. It is up to each player to decide how to phrase the music. Signs such as BREATH MARKS or BOWING can help do this.

PHRASES THAT MODULATE: Sometimes a phrase may end in a different key from the one it began in, such as the relative minor or major key. This is called MODULATION. For a tune to modulate clearly, it has to use a note that is in the scale of the new key but not in the scale of the original key.

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