Question:
ok. i have to go from Dmaj to Ab maj going from I,IV,V,I,P,X7. and then start a new key.
i don't know where to start, how to change keys, and i don't understand subdominant or realtive minors..
sorry for all of this, but i missed a few days and my teacher wasn't much help.
Answer:
I would use a German (augmented 6) chord. Have you learned those yet? What level are you in?
Answer:
Originally Posted by Xkcer Man I would use a German (augmented 6) chord. Have you learned those yet? What level are you in? we have to do that chord progression.
we learned all the chords and inversions of them.
i'm in music theory I AP.
Answer:
Originally Posted by rkfan4 ok. i have to go from Dmaj to Ab maj going from I,IV,V,I,P,X7. and then start a new key.
i don't know where to start, how to change keys, and i don't understand subdominant or realtive minors..
sorry for all of this, but i missed a few days and my teacher wasn't much help.
What in tarnation do P and X7 represent?
Am I just missing something obvious?
Answer:
Originally Posted by Nate What in tarnation do P and X7 represent?
Am I just missing something obvious?
Same question I had.
Short answer: play a D - D7sus4 - Eb7 - Db/Eb - Ab transition. Each chord gets 1 beat with the Ab occuring on beat 1 of the next measure.
Answer:
Or how about D - Bm7 - Bbm7 - Eb7b9 - Ab ?
Answer:
Originally Posted by Nate What in tarnation do P and X7 represent?
Am I just missing something obvious? sorry i should've explained that.
P= a pivot chord
X7 is the V7 chrd of the new key.
Answer:
Originally Posted by rkfan4 sorry i should've explained that.
P= a pivot chord
X7 is the V7 chrd of the new key.
Oh. That shouldn't be too hard, then. What did you have, I,IV,V,I,P,X7?
Ok... that would be D - G - A - D - something - Eb7 - [Ab]
That something is going to be a chord, hopefully, that functions in both keys.
That's difficult, however, because keys a tritone apart are totally unrelated.
I might choose a Neapolitan chord (have you learned those yet?) from the key of D.
A Neapolitan is a major chord based on the "flat second" of a key, but always occurs in first inversion.
In the key of D, then, that would be Eb/G. Usually, such a chord would move to A, in the key of D.
In the key of Ab, however, Eb/G (D's Neapolitan) is simply a dominant in first inversion.
That would be a nice choice, because you'd have a little bit of a repetition of the bass line.
Your progression would start D-G-A in the bass, then finish D-G-Eb in the bass.
So, try this: D - G - A - D - Eb/G - Eb7 - [Ab]
Another possibility for the pivot chord would be something like the augmented sixth chord Xcker mentioned.
An augmented sixth chord is essentially a chord that contains the note just below the dominant and the note just above the dominant of any given key, along with some other stuff thrown in the middle. Those two notes form the interval of an augmented sixth, and thus the chord gets its name.
The augmented sixth that would lead to the dominant of your new key (Ab) would be Fb-D then some other notes in between. Notice how Fb is right above Eb and D is right below Eb. The chord resolves outward to the dominant.
The simplest choice for the notes in between is just a major third above the lower note; Ab, in this case.
Another possibility is to keep the Ab, but also add a note a major second above that; Bb, in this case.
Yet another possibility is to keep the Ab, but also add a note a fifth above the lower note; Cb, in this case.
So, you have three possibilities for an augmented sixth here: Fb-Ab-D; Fb-Ab-Bb-D; Fb-Ab-Cb-D.
Any of those would be nice preparation for the Eb7 that would lead to your new key of Ab.
So, you could do this: D - G - A - D - Aug6 - Eb7 - [Ab]
This and the Neapolitan are the two strongest ways to effect tritone modulations that I know of.
Now, I'm assuming, all you have to do is pick one (or one of your own) and write it in four-part harmony.
Is that the gist of the assignment? What exactly are you having trouble with? Voicing?
Answer:
Originally Posted by Nate Oh. That shouldn't be too hard, then. What did you have, I,IV,V,I,P,X7?
Ok... that would be D - G - A - D - something - Eb7 - [Ab]
That something is going to be a chord, hopefully, that functions in both keys.
That's difficult, however, because keys a tritone apart are totally unrelated.
I might choose a Neapolitan chord (have you learned those yet?) from the key of D.
A Neapolitan is a major chord based on the "flat second" of a key, but always occurs in first inversion.
In the key of D, then, that would be Eb/G. Usually, such a chord would move to A, in the key of D.
In the key of Ab, however, Eb/G (D's Neapolitan) is simply a dominant in first inversion.
That would be a nice choice, because you'd have a little bit of a repetition of the bass line.
Your progression would start D-G-A in the bass, then finish D-G-Eb in the bass.
So, try this: D - G - A - D - Eb/G - Eb7 - [Ab]
Another possibility for the pivot chord would be something like the augmented sixth chord Xcker mentioned.
An augmented sixth chord is essentially a chord that contains the note just below the dominant and the note just above the dominant of any given key, along with some other stuff thrown in the middle. Those two notes form the interval of an augmented sixth, and thus the chord gets its name.
The augmented sixth that would lead to the dominant of your new key (Ab) would be Fb-D then some other notes in between. Notice how Fb is right above Eb and D is right below Eb. The chord resolves outward to the dominant.
The simplest choice for the notes in between is just a major third above the lower note; Ab, in this case.
Another possibility is to keep the Ab, but also add a note a major second above that; Bb, in this case.
Yet another possibility is to keep the Ab, but also add a note a fifth above the lower note; Cb, in this case.
So, you have three possibilities for an augmented sixth here: Fb-Ab-D; Fb-Ab-Bb-D; Fb-Ab-Cb-D.
Any of those would be nice preparation for the Eb7 that would lead to your new key of Ab.
So, you could do this: D - G - A - D - Aug6 - Eb7 - [Ab]
This and the Neapolitan are the two strongest ways to effect tritone modulations that I know of.
Now, I'm assuming, all you have to do is pick one (or one of your own) and write it in four-part harmony.
Is that the gist of the assignment? What exactly are you having trouble with? Voicing? i didn't have any idea where to start. this is pretty much the gist of it.
i never learned the neapolitan but i understand it now.
i think i'm going to try using that and the augmented sixth chord but play around with it a little to see what works best.
thanks for your help.
Answer:
Originally Posted by rkfan4 i didn't have idea idea where to start.
Assuming that I was right and what you need to do is write a four-part arrangement of this progression...
I would start by picking a nice voicing for your first I chord in D major. Something like D-A-D-F#.
After that, it's just a matter of leading as effectively as possible to the next chord.
To go to the IV, for example, you might do D-A-D-F# to G-B-D-G. Then, just keep going.
Answer:
Originally Posted by Nate Assuming that I was right and what you need to do is write a four-part arrangement of this progression...
I would start by picking a nice voicing for your first I chord in D major. Something like D-A-D-F#.
After that, it's just a matter of leading as effectively as possible to the next chord.
To go to the IV, for example, you might do D-A-D-F# to G-B-D-G. Then, just keep going. alright.
i'll try that.
thanks.
Answer:
Originally Posted by rkfan4 alright.
i'll try that.
thanks.
Just remember to avoid parallel fifths or parallel octaves, to not double leading tones, etc.