![]() This makes it possible to modulate up by 4 sharps very fast. (The drawing would also get messy very fast.)Īnother, very common and useful way of modulating, is using the dominant seventh chord in the minor keys (for instance, Ami - E7). I drew the paths only for one key (C major), but it works just the same way for all 11 other keys. So for now, the possible paths look like this (see the left circle): The book talks about the modulations in the terms of the circle of fifths, which is, in my opinion, a great approach, so I'll stick to it in this post.Īs your book correctly notes, the safest modulation is to the neighboring keys or to the relative minor/major keys. It can be shorter or longer, whatever you like.) (There are many, many possible paths between any two keys, so it's your choice. The only thing you need to do is to find a path between the two keys. ![]() However, you can modulate from any key to any other key without much hassle. Obviously, these modulations are the most common ones. ![]() Also please note that in the following (and in the music, generally) the word "modulation" means just a change of key. Please don't be intimidated by the diagrams and the wall of text. Could one way to do this be to change the key to something that broke the rules or is this vital rule implemented for a reason my book has not disclosed? We hear of great composers, Sibelius, Nielsen, Stravinsky and Elgar who frequently composed symphonies (and other works) that were so incomprehensible, no set way of playing something, flexible, stormy, tempo not settled, melodies and harmonies abandoned and so on. I am not disputing this, and it makes sense especially when you look at the circle of keys but would changing to a different key completely be such a bad thing? I must admit, sadly I am not at the stage where I can 'hear' music like you guys can (or even read it all that well as a matter of fact), but would modulating to a key that's not either of the above be a bad move? Source: Music Theory 101, Brian Boone and Marc Schonburn Other modulation could include the parallel, Maj C to Min C. The other close keys to modulate to are next to the original key on the key circle ![]() When the music changes keys, it changes to a closely related keyĬlosest related key is the relative minor On reading my new theory book I have come across a very interesting passage on Keys Change. ![]()
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