![]() ![]() ![]() I cannot emphasize how much that is true. Because of that, modulating can be as easy as finding a way to the V7 chord in the new key. Last week, I talked about how the V7 naturally resolves to the tonic. Modulation can be done in many ways, but today, I want to talk about it a bit from a theory standpoint and give you a formula you can use in every situation. More and more churches are starting to either package songs together or change keys within a song, so modulation is becoming a necessity for church pianists. That will be your most important one to modulate between the two keys, the 'pivot'.įrom here, it's just a matter of playing around with those chords above until you find a progression you like.I have gotten many requests to post a lesson on how to modulate between keys. There's only one in this case: CFG (Csus4). Now look for any shared chords between the two keys. G major: CDG (Csus2), CEG (Cmaj), CFG (Csus4) Now make lists of all the run-of-the-mill triads you can make using those two notes in each of your two keys: The truck driver's gear change is somewhat cliche and, to my knowledge, rarely shows up in academic, classical, or neoclassical music, so it may not be an appropriate tool for the style of music you're writing.Ī little more advanced method is to look at the shared notes between the two scales you're trying to modulate between (using enharmonic spelling to keep things simple): Run and Gun, an electronic dance track, starts with this modulation to gain some surprising energy coming out of the intro into the first drop. I Won't Let You Down by OK Go has an excellent example of this modulation near the end of the song. As a result, it's most frequently used at the start of the final chorus of a song to make the ending have more of a punch to it. ![]() When you abruptly modulate up a semitone, it immediately adds a lot of energy to a song. This is sometimes called the " truck driver's gear change" and shows up frequently in pop, rock, and dance music. Just jumping up the key up a semitone without a chord progression to lead into the modulation is a very common musical trope! Simply change the key signature in-between two major sections of a song, such as transitioning from a verse to the chorus - the already-present transition prevents the sudden modulation from sounding out of place or overly abrupt. ![]()
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