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C F D G C: I IV G: V I '''''E--**0----1----2----3'''''** B----1----1----3----3-- G----0----2----2----0-- D----2----3----0----0-- A----3--------------2-- E-------------------3--
→Common Modulations
{{Top-Level Crumbs|1}}
{{Lesson Crumbs|3}}
{{Advanced Lesson Crumbs|2}}
Modulations usually take place between highly-related keys (those with the most common notes). See the table below.
{|
|
{|class="wikitable"
!colspan="2"|
|-
| '''M7''' || 2 || 5 || 4
|}
|
{|class="wikitable"
!colspan="2"|
!colspan="3"| Key 2 Type<br>and number<br>of common<br>notes
|-
! Key 1 Type
! Key 2 Root's<br>relation to<br>Key 1 Root
! Major !! Minor !! Harmonic<br>Minor
|-
!rowspan="13"| Minor
|-
| M7 || 3 || 2 || 3
|}
|
{|class="wikitable"
!colspan="2"|
!colspan="3"| Key 2 Type<br>and number<br>of common<br>notes
|-
! Key 1 Type! Key 2 Root's<br>relation to<br>Key 1 Root! Major !! Minor !! Harmonic<br>Minor|-!rowspan="13"| Harmonic <br>Minor
|-
| '''U''' || 4 || '''6''' ||
|-
| '''M7''' || 3 || 3 || 3
|}
|
|}
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys. In other words, for the chords chosen, one voice can move up or down 2 or more half-steps. This necessarily implies the transition will occur over at least 3 chords. For the strongest effect, the chromatic line should lead into the root of the new key.
For example, consider a modulation from C Major to A Harmonic Minor. C Major has a G note, while A Harmonic Minor has G{{s}} and A. This allows us to create a G - G{{s}} - A chromatic line through the following progression: G - E - A. That's ('''G''' B D) - (E '''G{{s}}''' B) - ('''A''' C E). If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line. G is the V chord of C Major. E is the V chord of A Harmonic Minor. The progression could be written as:
C F G E Am C F G E Am
E--0----1----3----0----0-- E-------------------------
B--1----1----0----0----1-- B-------------------------
G--0----2----'''''**0----1----2--''''' ** G--0----2----'''''**0----1----2--'''''**
D--2----3----0----2----2-- D--2----3----0----2----2--
A--3----3----2----2----0-- A--3----3----2----2----0--
Here's another example, modulating from C to G, using a chromatic run on the high E string. Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys. In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.
A--0--2--4----------0-----|-------------------
E-------------------------|-------------------
A B C# D E A D A G F# E
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major. We also use an E in the first measure, but Em in the second. This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.