Question:
A question somewhat similiar to one going on another thread, how do you figure out the correct sequence of chords, perhaps passing notes, etc. to get you from one key to another?
To futher clarify, suppose I have a song in D, and I need to transition as smoothly as possible into the next song that's in G. I've never understood the methodology of figuring out what chords would sound pleasing in the process of getting to the next key.
Whenever possible, I try to place the order of my song selections to minimize the 'severity' of the key change between songs. I try to keep songs that are in the same keys all together, and try to work it out where the transitions are upwards one full step (C to D, E to F, etc.) But sometimes it's a more drastic key change (C to E, E to G, etc.) or maybe even needs to transition downwards (D to C, F to E, etc.) to match the other flow factors in the worship set.
When it's a really big jump, or jumps downwards, I usually just do a cold stop, read some scripture and fire it back up. But I'd really like to know if there's a musically correct way to figure out chords between keys.
Thanks in advance for any assistance!
Rick <><
Answer:
Originally Posted by Ricky C A question somewhat similiar to one going on another thread, how do you figure out the correct sequence of chords, perhaps passing notes, etc. to get you from one key to another?
The best intermediary chords are those that belong to both keys, ending on a V(7) of the new key right before you start playing the new song. Another option is to chromatically modify a chord in the old key to create a chord in the new key and then move towards V(7) in the new key. In either case, it's good to have a ii or a IV in the new key turn up right before the V(7) of the new key.
To futher clarify, suppose I have a song in D, and I need to transition as smoothly as possible into the next song that's in G. I've never understood the methodology of figuring out what chords would sound pleasing in the process of getting to the next key.
Many chords would sound good. The basic process of figuring out what to play is:
1) I'm ending in D, and I'm going to G
2) I need a C(Am)-D7 right before I start playing the new song
3) What can I stick in-between D and C(Am)-D7 that fits in-between the two keys?
In this case, you've pretty much got it made since the keys are so close. You could just extend the D from the old song for a measure or two, add a seventh to it after awhile and then start up in G (since D is the V(7) of G). Alternatively, you could use a I(6/4) (second inversion tonic) of the new key in place of the ii or IV that I suggested. Just bounce around between G/D and D and then do a G/D-D7 before moving to the new song in G.
When it's a really big jump, or jumps downwards, I usually just do a cold stop, read some scripture and fire it back up. But I'd really like to know if there's a musically correct way to figure out chords between keys.
Really, it's all about creativity. There are techniques (I'll give you a few more in a minute), but the basic idea is simply to get from the tonic of the old key to the dominant of the new key in as "pretty" a way as possible. There are infinite variations, and you can even skip the dominant of the new key and simply jump up to the new tonic, if you like.
A nice element for modulating is an augmented sixth chord (named for an interval) of the new key leading directly to the dominant of the new key; if you use the German variant of the augmented sixth chord, it's even better. I use this in a modulation from G to A in the last chorus of "Salvation Belongs To Our God." The basic progression for the chorus in G is G-D/F#-C/E-Em7/D or something to that effect. For the modulation, I use that same step-wise descending bassline idea, but add in a few half-steps to make it end on a different chord. I do G-D/F#-F7(this is really a Ger6+ chord in the new key!)-E7(this is the dominant of the new key!)-A(this is the tonic of the new key!), then continue with A-E/G#-D/F#-F#m7/E (the same chorus progression tranposed up a step).
Step-wise motion in the bass is great for modulating. You can just play a chromatic scale in the bass moving from whatever the tonic of the old key was towards whatever the dominant of the new key is, and then throw whatever chords you like to on top, basically.
Answer:
Nate:
Thanks for the very thorough explanation. I'm going to print it out and really study it to try to understand as some of it is a bit out of my comprehension (I'm very weak on music theory.)
If I may, I'd like to ask a question about part of your explanation:
2) I need a C(Am)-D7 right before I start playing the new song I think I understand the D7 part. D7 is the seventh of the V chord in the new key of G. But how did you come up with C(Am) as part of the transition?
Again, I certainly appreciate the assistance!
Rick <><
Answer:
Originally Posted by Ricky C If I may, I'd like to ask a question about part of your explanation:
I think I understand the D7 part. D7 is the seventh of the V chord in the new key of G. But how did you come up with C(Am) as part of the transition?
The C(Am) is more a suggestion than a requirement. You'll note in the latter half of the first paragraph of my post above that I mentioned it as a "good idea" to have the ii or IV chord of the new key precede the V (the dominant) of the new key. ii-V-I and IV-V-I are among the strongest cadential progressions we recognize, and using them to modulate helps to "seat" the new key in the minds of the listeners / singers better.
Like I said, there are countless other ways to get to the dominant, though... so don't think that going to ii or IV of the new key is an absolute necessity. Another nice thing to do (if the keys allow it) is to use a chord from the old key that is very similar (in the notes used) to the dominant of the new key. You could do this with the keys of G and A, for example, by moving from the last G in the piece in G to a D/F# then to an Em (this is vi in the old key, and it's only a half step away [the G should be a G#] from being the dominant of your new key) then to an E(7) (the dominant of your new key), then pick up in A. See how the Em becomes an E(7) with just a small change in the notes? This is a little more subtle a variation on the augmented sixth method I gave you earlier.
Glad I could help.