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Pick1949 - Posted - 05/12/2009: 17:38:44
Aint there some "correct way" to modulate to a different key?
For example while in G... what are the chords you would use to "walk into" the key of C?
Edited by - Pick1949 on 05/12/2009 17:39:42
steve davis - Posted - 05/12/2009: 17:55:37
You can just go directly to the key of C from the key of G.
Pool
BobbyE - Posted - 05/12/2009: 19:31:03
Play the Vth chord of the key you are changing to and then go back to the Ist chord of the new key.
Bobby Elliott
"found a few chords on the banjo is the key to life." Vince Gill
Robin Smith Timeless Timber-Walnut-Wreath in Ebony
Deering Golden Era
GerhardP - Posted - 05/13/2009: 02:23:43
Just want to make sure, we are talking about the right terms:
Do you mean just changing the chord to C while the songs root key remains in G or changing the root key of the whole song from G to C, which is what 'modulating' means ?
Gerhard
"Most bullet holes in banjos are a result of poor aim"
(Fretless Josh Saw in BNL July ''02)
steve davis - Posted - 05/13/2009: 07:24:08
Modulating to C from G doesn't seem to need to be walked into...it just falls directly into that
kind of spacing...when the new key matches the IV chord of the 1st key.
When the keys change from G to A it seems to need a G# on the way to the A.
When the keys change from G to D it seems to like an F to E before the new D.
G to E likes a walk down from any G position one fret at a time til you get to E.
Just some suggestions.Modulating smoothly to a new key varies depending on where the new key is in relation to the first key.
Pool
Edited by - steve davis on 05/13/2009 07:31:03
minstrelmike - Posted - 05/13/2009: 13:02:07
I don't think there is a correct way to modulate (change keys).
All the previous answers work. Sometimes when we modulate, we simply change. Like Nike, just do it. This is done in Flop-Eared Mule (modulates a 5th) and Good-Hearted Woman (goes up a step).
Other times, you'll do a walk (up or down) which is often thought of as a bass run because you do it on the root notes. G G# A
or G A B C.
Other times, you'll do some sort of turnaround which might use a circle of fifths approach to get close to the new key or use 'standard' turnarounds, a few of which were presented above.
As long as everyone does it the same way at the same time, it will probably work (at least a lot better than if they do different things at different times ;-)
Mike Moxcey Fort Collins, Colorado, USA
http://moxcey.net/mike/minstrel/index.html
Pick1949 - Posted - 05/13/2009: 16:39:07
quote:
Originally posted by GerhardP
Just want to make sure, we are talking about the right terms:
.....changing the root key of the whole song from G to C, which is what 'modulating' means ?
Gerhard
"Most bullet holes in banjos are a result of poor aim"
(Fretless Josh Saw in BNL July ''02)
You are right... the above is what I mean. I have been picking by myself sometimes, just fooling around, and have played rolls through (to get to The key of C from G) F, G, then ending at the C chord and now in the Key of C. In that order.. its seems that it "arrives" at C more "stylish" than just switching straight to C. Then to walk back into the key of G (switching now back to the key of G from the key of C.) I would roll the chords A, D, and end at G and now back in the key of G. It seems more "pleasant" sounding to me this way... allowing the ear to hear the change to the different Key take place instead of switching right back, which I think works when a singer sings in C and then the group switches to G for the breaks.. but when alone I think it sounds better to do this. I was just wondering if there was any "technically correct" way to do it in terms of music... since I know no theory. I also can understand that technically there aint one solid correct way... you could do it anyway you wanted but I was just wondering. Thanks for the answers... Any more ideas?
Edited by - Pick1949 on 05/13/2009 16:42:04
tfaux - Posted - 05/14/2009: 07:25:15
You need to turn the G-chord (the I-chord in the key of G) into a V-chord in the key of C.
One way is to play the G as a G7. Your ear will then want to "resolve" it to C.
Tom
salvatone - Posted - 05/14/2009: 07:42:11
quote:
Originally posted by tfaux
You need to turn the G-chord (the I-chord in the key of G) into a V-chord in the key of C.
One way is to play the G as a G7. Your ear will then want to "resolve" it to C.
Tom
I agree. G7 is the domminant chord in the key of C. Now, to get back to G from C, you can simply move up from C to a D7 chord. Now you have the domminant chord in the key of G and you will want to hear the resolution back to G. This often happens in fiddle tunes that modulate.
Salvatone
steve davis - Posted - 05/14/2009: 14:39:38
A good way to get from the G to the C is to walk down the 455 to 344 to 233 then C.
Pool
KI4PRK - Posted - 05/14/2009: 20:30:21
quote:
Originally posted by steve davis
A good way to get from the G to the C is to walk down the 455 to 344 to 233 then C.
Pool
If anyone's interested, it works because the 455 (I use 989 a lot and walk down to 767) is a G6th, which is a good cover for G major (used a lot in jazz). Then you walk chromatically down to a G9th (233), which is a G7th which an A added, so it has the same effect basically as the G7th. The 344 is just the chromatic intermediate step. Don Reno used this little progression a lot. Sounds kinda jazzy. 73, Brennen
steve davis - Posted - 05/15/2009: 08:00:35
I always thought of them as minors,but that's just my own way of categorizing them.
Sometimes I only move 2 of the strings and play 455 444 433
Pool
Edited by - steve davis on 05/15/2009 08:05:19
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