the same exact notes in a different scale/key have a totally different feeling. 'C' in c major does not FEEL the same as 'C' does in a minor. Just modulate and youll see how different it feels lol. Its not something you understand on paper, its something you understand with your ears. Bandcoach should be in here any minute to give you a few paragraphs of game
and dont modulate to a different progression. Play the same progression in A minor play a 1 4 5 in C then play it in A minor. Most of the time thers a few notes that lead up to the modulation. Im not a theory expert or even close and ive actually started revisting and want to master theory lately, so I might not be 100% correct but like i said band coach is on his way believe me lol
You may wanna look into secondary functions. I suggest finding taking a theory course or finding a local instructor to give you some in-depth guidance.Alright cool, what I tried last night and it sounded pretty good, but obviously basic.
But anyways it worked and lead to a smooth enough transition to the new key.
I played the V7 chord of the new key right before modulating to the new key. Sounded alright...
This is something I was to master or be really good at, at least understand the theory behind it.
A lot of melodys and progressions I hear are very repetitive and boring, I want to be able to switch moodd during a verse or for the chorus for example.
Yea I was gonna PM bandcoach but I wanted it to be a thread for everyone to see, no one seems to be checking the posts though,
I was able to get the drift on transposing vs modulation, transposing is playing a tune in another key, modulation is modulating to another key in the same song.
I'm going to have to really read this over to get a firm grip on it, it always takes me some time to take your information in.
I'm going to have to look up those other threads though on Secondary Dominants.
Any thing off the top that we should definitely know about Secondary Dominants chords with relation to transposing?
From I could take in so far though, is that you have your progression in the one key and you proceed to the V7 chord of the new key prior to making the change to the new key...Correct me if I'm wrong.
I got a little lost in this part:
"prepare the new key centre by approaching it with it's dominant chord (chord V|v-I|i i.e. V-I|v-I|v-i|V-i). It works better if the chord is actually a dominant 7th chord (built as 5-7-2-4 in the new key)"
I was also told that the "pivot" chord is another way to modulate and that a good way to do so is to find a strong chord that is present in both the old and new key, and use that as a means to lead into the new key.
|C: I-IV-I G: I-II-I|
Sometimes it also doesn't work, here's another example of something I tried yesterday.
I was trying to recreate Styles P's-Daddy get that cash ( or my own twist)
My Chords where in the Key of C and goes: vi-V-IV stretching the IV the rest of the 2 bars.
I was just an an experience seeing what it would sound like to modulate to the same progression in the key of Am.
I did 8 bars in the key of C and then 8 bars in the key of Am.
So on my last 2 bars in the key of C, I played they:
vi-V-IV and the last 2 beat played V7 of Am and then proceeded to the 8 bars in the new key.
Is this correct?
|C: vi||V||IV||vi||V||IV||vi||V||IV||vi||V||IV||a: V[sup]7[/sup]||[sup]b[/sup]VI||V||iv||[sup]b[/sup]VI||V||iv||[sup]b[/sup]VI||V||iv||[sup]b[/sup]VI||V||iv|