How to Easily Move from One Key to Another - Music Composition
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- Опубликовано: 9 июл 2024
- Learn how to easily modulate from one key to another using a pivot chord. Some people can write a piece of music but experience difficulty when it comes to modulation i.e. moving from one key to another. This music composition lesson explains the most useful options. You might be taking a music exam that involves the art of modulation or you might be writing or arranging music that would be so much more interesting if you could vary the keys more. This music composition lesson explains the art of pivot chords (i.e. chords that are common to two different keys) and how to use them to transition smoothly from one key to another. Once you understand pivot chords and how to use them you will never look back.
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🕘 Timestamps
0:00 - Introduction to moving from one key to another
1:35 - Understanding pivot chords
2:30 - How to find pivot chords
6:50 - Deciding which pivot chord to use
8:01 - Examples of modulation
9:11 - A quick recap in a different key
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What if we already know how to pivot on the 4th? What about the other combos?
Any chord that’s in common
I really appreciate the clarity of your explanations, meaning it's actually possible for 'beginners' to follow and understand - in contrast to other videos which are much more demonstrations of the player's virtuosity and impossible for beginners to learn from. Thank you.
That’s very kind. See www.mmcourses.co.uk for our 24 online courses and to find out about Music Matters Maestros.
Keeping it this simple is exactly what's needed.
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
After 8 years of music theory you are the first who explained the pivot chords clear and easy. Thank you very much :o)
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
OMG! This has to be THE BEST music instructor ever!!! Thank you so much Sir for bringing musical light in such an easy, clear , and enjoyable way!!!
That’s very kind of you. Much more at www.mmcourses.co.uk
I've really appreciated watching various of your videos. So clear and easy to follow. Thank you :-)
A pleasure. Thanks for your comment. See www.mmcourses.co.uk for much more.
So grateful you're still producing more of these! Thanks much from Duluth, MN!
A pleasure. See www.mmcourses.co.uk for much more.
Wow, I’m binge watching your videos. Your on another level.🔥🔥👏🏽
I usually try to leave a comment each time I watch one of your videos, and it's not a waste of my time to watch some of them several times. Your musical knowledge is impressive, but even more impressive is your matter of fact presentation of that knowledge. That is a rare, and I would go so far as to say, unique gift. You are by far the best music teacher on the internet. Because you can talk in simple terms, even if it's a complex subject.
One skill that I lack is ear training. I cannot easily pick out a key change. But I've only listened to dozens that I'm aware of and those examples aren't yet in my head. But I'm learning by playing, and can start to hear changes I make; if I do it hundreds or thousands of times it will get easier.
I have a piano teacher who did not know of the Rule of the Octave. I told him last month I was working on it in my daily practice sessions, and he asked me to move through the Circle of Fifths. He was able to see that I had made one mistake. Now I am practicing cadences and Gareth's sequences. I just found Nadia Boulanger's cadences she gave her students at the Paris Conservatory. Again, I'm trying in every key. He is letting me practice that instead of learning songs since he has said that my fingers are learning where to move. I'm not very musical, and I suspect I have Aural Aphantasia. I don't have music in my head. But I like music, and I love playing piano, and strumming a ukulele. It might take me longer and I might never be a musician, but I have overcome bigger handicaps.
Here is a link to Nadia's cadences. I am sure that this would make a great series of videos as you are carrying on her tradition.
derekremes.com/wp-content/uploads/boulangercadences.pdf
😀
Your explanation is Amazing and the best explanation of Pivot Chord Modulation I've ever come across. Lucid!
A pleasure. Much more at www.mmcourses.co.uk
I'm going to apply this right now 🙂 Thanks Gareth & keep up the keeping-us-learning... 🎶 👊
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great way to explain modulation. Especially, the common door analogy. Thank you.
A pleasure.
What a lovely lesson. Just love your tutorials! Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
These videos are so helpful. Thank you.
That’s great. See www.mmcourses.co.uk where there’s much more.
What a perfect explanation. Thanks so much!
A pleasure. See www.mmcourses.co.uk for much more.
Absolutely as advertised: an EASY way to change keys on the piano!!! Great job of explaining it so dummies with Doctorate degrees (like ME!!) can understand it all quite clearly!!! Thank you!!
A pleasure
I have watched two videos and just really like the way you explain the music theory
Thank you. Much more at www.mmcourses.co.uk
A great teacher! Clear teaching with simple illustrations. Thank you!
That’s most kind. Glad it’s helpful.
Awesome! Best explanation! Straight to the point! I wish some day I could improve myself studying with masters like you! Thank you!
You’re very kind. Sign up for a Skype lesson with me whenever you fancy one.
Marvellous.Thank you !
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
you're amazing! thank you for these concise, informative videos.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
My new favourite video Gareth, thank you…! I missed studying this formally and this video has been really helpful…! Really helpful to hear the examples…! Thank you again 🎉! 😊
A pleasure. Glad it’s useful
Really helpful! Thank you so much.
Excellent. Much more at www.mmcourses.co.uk
Thank you so much for this super clear teaching.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Awesome explanation. Thankyou Sir.
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Wonderfully clear. Bless you.
That’s most kind
Thank you!! This really helped me.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Hello again Maestro; what a lesson this is teaching Music Theory not preaching. Again, I thank you much. Please never stop. With gratitude, R
That’s most kind.
Great explanation thank you.
A pleasure. Much more at www.mmcourses.co.uk
Awesome video, thank you!
That’s most kind. Much more at www.mmcourses.co.uk
You are a great teacher.
That’s most kind. Much more to check out at www.mmcourses.co.uk
Heel erg goed uitgelegd. Dank je wel.
Glad it’s useful. Much more at www.mmcourses.co.uk
ohhh so that's what modulations are thank you again :)
A pleasure.
Never really understood modulation. This was very useful. Thanks
A pleasure
Amazing explanation. Thanks :)
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Excellent presentation, as always. Thanks. (Now to see if I can actually make it work...)
Go for it!
Very helpful video and it's really easy to understand for a foreigner like me
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thanks for the lesson
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Awesome and understandable.T.Y!
Glad it’s helpful
Excellent tutorial.
Many thanks. Much more at www.mmcourses.co.uk
Mark you're wonderful ❤
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
thank you for helping me
A pleasure. Much more at www.mmcourses.co.uk
well explained key change thank you sir
A pleasure
Thank you for explaining so well! Also, I don't know if anyone else had this in their heads when first seeing the video but... PIVOT!! From Friends lol.
A pleasure. Thanks for your positive feedback. Much more at www.mmcourses.co.uk
Much appreciation
It’s a pleasure. Much more at www.mmcourses.co.uk
Hello, i really like your videos. I have one observation regarding the pivot chords. If you wanna move from one key to the next one in the clockwise direction of the circle (circle of fifths), the pivot chords seem always to be the I, III, V and VI of the original key. On the other hand, in the counter-clockwise direction of the circle (circle of fourths), the pivot chords are always the I, II, IV and VI of the original key. Just thought it would be a helpful shortcut.
Thank you. That’s a good observation.
Ilias berrada You are the first one to mention the counter-clockwise direction. Than you very much :o)
😀
Although as a child I learned the piano but did not get taught theory. Thankyou for making this so exciting wish my 79+ year old brain could work better Thankyou for this exciting journey Yvonne from northern ireland
That’s great. Enjoy! You might enjoy our online Theory courses at www.mmcourses.co.uk
i love you thank u so much
That’s most kind! Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Brilliant
Most kind
Great lesson. Is it possible to see a video on enharmonic modulation and modulation to keys that are far away to the original key with ease. Thank you so much.
Thanks. Ok. We can do that.
Thanks GARETH
A pleasure. Much more at www.mmcourses.co.uk
Thank you😊…do you have a video on how to analyze sheet music 👀
A pleasure. If you have a look at www.mmcourses.co.uk you will find video courses on analysis of Beethoven’s Pathetique Sonata and of Bach’s Prelude and Fugue in F# Minor from the 48. We also have samples of these on RUclips.
Hi, Thank you for this superb lesson. I am new to music and wonder why the chord notes are stcked in reverse order with the root note on the bottom.
Thank you. All chords are built from the bottom up rather than from the top down.
Have a look at our Theory course at www.mmcourses.co.uk if you want to build your musical knowledge.
I didn’t know this aspect of music theory , other than accidentally stumbling across good transitions when composing but never really established understanding of the triad relationship between launch and destination keys , how interesting thanks🙏🎩
Many thanks. Much more at www.mmcourses.co.uk
How do you determine the "down beat" or the "dominate" note in order to know which note to play the chord on?
The down beat is the first beat of the bar.
It seemed to me that it is only when the accidentals are employed that the modulation is complete. It would be interesting to have your thoughts on establishing a new key. Also the opposite idea of introducing accidentals such as D maj chord in the key of C that fail to modulate.
Once the pivot chord has been used introducing the new accidentals is what establishes the new key. Yes you can use colour chords/ chromatic chords to add flavour without modulating.
Great explain. Could you please teach how to write a 20 bars melody for LMustcl Exam
Feel free to book a consultation lesson at www.mmcourses.co.uk and we could cover that.
Lovely. That pivot chord concept is totally clear to me now. However I wish you had displayed on the pianoroll which chords you were playing.
Glad it’s helpful. Much more at www.mmcourses.co.uk
I don't know theory but my ear can figure it out. Try it.
Excellent
I need to know how to study and practice so I can progress from my low intermediate level of violin jamming/iprovising to the next level. Stuck hearing and playinh the same stuff the same way.
You might well be interested in our Effective Practice course www.mmcourses.co.uk/p/effective-practice-course
Gareth, in a ii-V-I modulation, are the ii and the V in the original key, or in the new key?
In a modulation we usually employ a pivot chord, as explained in the video. What comes after the pivot chord is then in the new key.
easy job
😀
I work in church music, and modulations are usually 1 or 1/2 up to add interest but keep the music singable. If we are singing in C and want to go to D flat, we usuallly play A flat 7 to resolve to D flat. Do you have any other ideas? Many thanks!
Using a pivot chord to modulate to other keys is the most common way.
You could also use the diminished seventh chord to modulate from C to F sharp major :) or the Neapolitan sixth chord to modulate from C to G flat which is enharmonically equivalent..
DIminished chords or N6 are not diatonic to the keys, the title says "Changing Key by Using a Pivot Chord". Dim or N6 are not pivot chords, those are some other types of modulation.
Fresh well but in the video it sounded like it was not easily possible to modulate from C to F#
@@Mymusicaldream Using pivot chords, you can not. There are no common chords between C and F#. In this context, what the video says is accurate.
Yes. This video is focused on diatonic chords but it’s true that modulation can be achieved by chromatic chords.
@@MusicMattersGB It would be awesome if you could make other videos about the different types of modulations. 👍🎉
very interesting .. but I need a cheat sheet that will tell me how many steps to go down or up to change a key on site reading. My director will hand me a sheet in F, than change the tune to C .. so I go down half a step with all notes. Is there a cheat sheet for key changes on site reading ?
The best thing is to get your way around the circle of 5ths. You’ll soon recognise key changes.
I understand the idea of the pivot key. I don't understand where to use it. Say you have 4 bars in one key, followed by 4 bars in a different key. Should the pivot key be used for bar 4 or bar 5 or should an extra bar be placed between them which uses the pivot key? Or, should the pivot key be used in both bars 4 and 5 with the new key scale being used in bar 5?
There’s no fixed point for the pivot. You can use it at any point you wish. Some modulations come early; others come late.
@@MusicMattersGB Thank you very much. I'll get started modulating. :-)
what do you mena by strong and weak chords?
thank you
Primary chords are strong I IV V
@@MusicMattersGB thank you for the quick answer sir
A pleasure
What's your opinion on the pivot chord being the dominant of the new key? Maybe it was only Walter Piston (Harmony, 5th ed. p224) that had a problem with it, i.e.
"The most logical pivot chord will be one that has a simple function in both keys. That means that the pivot chord should not be the dominant of the second key, because that chord would not normally be a fundamental chord in the first key. (Modulation to the subdominant key, as from C to F, is an exception to this caveat.)"
Of course, the only available dominant chords in the old diatonic key are I (modulate to IV - OK), V (the music is already in this key!), and IV. I've just tried it and modulating from C to Bb via a pivot chord of F seems uncontroversial to me. Thanks.
Often the Dominant of the new key is a good way to get into the new key after the pivot chord but your observations about the Dominant of the new key not being a pivot chord in most cases are correct. As you say, modulation to the subdominant in a major example is the only one that’s truly a pivot chord.
There' different DIATONIC scales...with MORE THAN just ONE dominant chords. The diatonic MAJOR is just One out of 10 diatonic scales.
Diatonic just means 7 notes scales....Keep it simple like that.
The MAJOR diatonic is just a REFERENCE point.
You dont need to use dominant chord to shift into a different key.
You can used diminished or augmented...whatever clever ways..
Heck sometimes I just random artifical harmonics on my guitars..
it sounds exotic and needs resolving...to most people.lmao.
The LEADING tone note is the second arpeggio of a MAJOR chord
3 into 4....( AUGMENTED chords are all maj3 intervals..so any notes
from an augmented chord can be use as a leading tone note ( 3 into 4)
or whatever Note a semi tone below the note you wish to play into...to used as a Tonic or NOT.
Diminished chords...well G7 is just G B, D, F or B dim/G ..it's still B dim into C.
The other scales you created FULL diminished. G, D, B, F, Ab...
You can use ANY NOTE of the a diminished or FULL diminished as a LEADING
TONE...B into C.....D into Eb.....F into F#......Ab/G# into A
I can simply play C Maj C#dim into D min/F MAJOR..
If I stack the A note below C# dim it's just A7 into D minor...
I could had play C Maj into FMaj...all day long..but that's BORING
or I can use the (N6) A harmonic min b2 or Melodic min b2
to help me cycling down to the 4th...
The b2 note from A is Bb..you can play it as Bb Maj. Bb7. Bb dim Bb dim.lol
play Bb dim into B Major or B min....all day long
F#7..that's just F# stack below Bb dim....
The F# note is the VI of A Melodic min....
I could had simply play the E dim into F MAJOR...all day long.
Im familar with the different scale and my instruments...I'll make
a smoother transition....what's E dim with C stack below it??
Just C7.lol....
or I can play Cmaj7 into C min....it's just 7 into 8 whatever
That's becuase the C harmonic MAJOR and harmonic min
chords overlap.... A harmonic MAJOR and harmonic min
D, F, Ab, B
B, D, F , G#
Let back up a little.....Here are a list of those 10 DIATONIC SCALES.
Im going to list it DIFFERENT WAYS....so you can SEE it from different angles.
So you'll modulate different ways..write, play and create music you always
want to play.....DO WHATEVER YOU WANT.
The Basic
G7 into C MAJOR or C min
E7 into A MAJOR or A min
Using the MAJOR intervals as the REFERENCE.
PUSH DOWN from C MAJOR towards C min
b6 = Harmonic MAJOR
b3 = melodic min
b3, b6 = Harmonic min
b3, b6, b7 = Natural min
b2,b3 melodic min b2
b2, b3, b6 Harmonic min b2
b3, b5 Melodic min b5
b3, b5, b6 Harmonic min b5
b3, #4 Melodic min #4
b3, #4, b6 Harmonic min #4
#6 Ion #6
----------------------------------------------
The only different between Aeo and dor is b6 or Maj6
Aeo dor
Harmonic min Melodic min
Harmonic min b2 Melodic min b2
Harmonic min b5 Melodic min b5
Harmonic min #4 Melodic min #4
Mix #2
------------------------------------------------
The LEADING TONE Method ( modes from various scales)
aeo maj7 Harmonic min
dor maj7 melodic min
phr maj7 Harmonic min b2
Loc maj7 Ion #6
Mix Maj7 Ionian
Mix b6 maj 7 Harmonic MAJOR
dor b2 maj7 melodic min b2
dor b5 maj7 Melodic min b5
dor #4 maj7 Melodic min #4
aeo #4 Maj7 Harmonic min #4
aeo b5 Maj7 Harmonic min b5...
The 10 scales WORK together or NOT.
The MORE you USE Them..the better you'll get at blending them...
Use different combinations to write music..
They're just TOOLs.....Not rules.
HI
1) I would like to know if the aural dictation course fits a beginner in music..
2) I would like to know if I can pay the course through my phone but watch it in my laptop, or desktop , without having to pay twice for the same course..
I actually bought a masterclass on internet, and I couldn't read the videos on my computer so I had to play it on a different device
Thank you Sir
Hi. Once you’ve paid for the course you can watch it on any device. The Aural Dictation course is not really designed for absolute beginners but if you have basic knowledge of music notation you should be able to work through it. It will certainly progress your musical knowledge. Enjoy!
I have a question. In typical pop music, say a song in c major. Often times on the last chorus, you will hear a modulation up to a different key. Are they any rules for this? Are they normally just going up one key, say from c major to d major, or just up a half step to c# major? Sometimes they will continue modulating up for a third, then a fourth chorus. I'm just curious how this is typically done. Thank you for your wonderful instruction.
Hi. It often moves up a semitone by using the V7 chord of the new key.
@@MusicMattersGB thanks so much.
😀
_cool_
Glad it’s helpful. Much more at www.mmcourses.co.uk
What about going from C# minor to G minor?
You can either create a dramatic modulation without using a pivot chord or you can go through a series of modulations from one key to the other.
How to do the same with minor keys rather than major chord C
Exactly the same using minor keys
@@MusicMattersGB thnx
😀
I found a way to transition to another chord by putting a little section with another key that have a common pivot chord for both keys
Excellent
I accidentally made my heightpoint in my song A minor while the rest is in B and F# Major 😭 how am I gonna modulate that one is in Africa the other in Australia.
I’m sure you’ll find a way
@@MusicMattersGB
Yeah that translates to "you're finished" haha
😀
Hello: Please inform if you have Merchandise Tshirts with your logo. Yes, I would like to purchase one.
We’re working on it 😀
It's easier if you learn more scales aside the Major scale
such as C Harmonic MAJOR and A harmonic min
the 2, 4, b6, 7 are all possible full diminished chord ( common/pivot chords)
It'll overlap in B dim/G7 into C MAJOR or C min
D dim/Bb7 into Eb MAJOR or Eb min
F dim/C#7 into F# MAJOR or F# min
Ab/G# dim/E7 into A MAJOR or A min
or you can simply INSERT a dim or augmented chord as a leading tone
into whatever TONIC...Major or min
such as A min Bb/A# dim into B MAJOR or B min
The Bb chord....most common inserted as Bb Major
The modes are just lydian #6 lyd #5, #6 or Lyd #2. #6
In other words you can alter that chord to whatever
You can use Bb Maj to CYCLE DOWN to the 4th
Bb MAJOR/Gmin
Bb lydian to F MAJOR/Dmin
Bb mix to Eb MAJOR/C min
or play it as Bb dim into B MAJOR or B min
or extend it....Bb dim C7 into F min or F MAJOR
or Bb dim C dim into C# MAJOR or C# min
or play A min B7 ( D# dim) into E MAJOR or E min
so how would I play C MAJOR/Amin to F# MAJOR???
You can also use the N6 after MAJOR's TONIC
I would simply play C MAJOR....G Maj F# Maj
or C Maj Ddim into D#min/F# MAJOR
or C MAJ G Maj F dim into F# MAJOR/D# min
I can easily play back to C MAJOR/A min
F# MAJOR....B Maj7....C#7 D dim E7 into A MAJOR or A min
The Db/C# Maj C#7 C# aug is also the N6 to C MAJOR
The D dim is the common pivot chord
as D dor #4 to A harmonic min or D dor b5 to C HArmonic major
or D lyd b3 E mix b2 to A harmonic MAJOR....
be the N6 to C# Harmonic min /E MAJOR
D maj7 E7
D dim E7
D Maj B min E7 into A min
D dim E dim into F min Ab maj G7 into C MAJOR
or from the A melodic min....A min....D7 ......E7
A min....D7 into G MAJOR B min7 E min
it's pretty much any chord degree within the 12
I can simply play A min F7 into Bb MAJOR or Bb min/Db MAJOR
that's also A dim/F7..or a simply F Maj or F aug....A into Bb
A min FMaj into Bb min Db Maj C dim D7 into G MAJOR/E min...if you want
The C dim D7 are the 4, 5, chords to G harmonic MAJOR or Harmonic min
or i can play C dim D dim into Eb Major Bb Maj Ab Maj G7 into C min...if you want
They can also be N6 to B MAJOR or B min
Notice the C#7 and E7 are b3 intervals apart...
You can also stack dominant chords every b3 interval
Harmonic min b5 and melodic min b5 = full dim W/H
dorian b2, #4 and lydian b2, b7 = Full diminished H/W....( this)
it's SYMMETRICAL...you can stack it...1, 3, 5, 7...
I used the lyd DOMINANT b2...for a reason....just so you'll SEE it.
or I played C# phryian b4 ( possible DOMINANT)
D lyd b3,,,,possible min or dim
E min b2 E7
or E7 and G7 are b3 intervals apart..
E7 into A min
G7 into C MAJOR
A comprehensive set of possibilities there.
@@MusicMattersGB but it makes thou..The N6 as Major or Dominant
after the MAJOR's tonic
D dim.....E7 D dim Eb MAJOR E7
it overlap A min Bb7.....................lol
it's just VISUALLY easier for me to see it on the fretboard
if I play C Harmonic MAJOR...or melodic min
F7.................G7
F min/ dim G7
B min/dim ..... C Maj.........C#7
F dim F# Major........ G Maj .................
😀
@@MusicMattersGB it's actaully not that hard to play on the guitar
A min...C Maj C#7 into F# MAJOR
or D dim into D#min
D loc b4, bb7 is just Mix #1 ( it's kind of weird to count with a #1 root
so it gets converted to Loc b4, bb7..
anyways to make D dim chord...
Im simply going to play the C#7 chord ( barr completely across) to play
the G# note as will....then simply play the D note..with my free finger.
so it;s going CHROMATIC...C Maj...C#7 D dim into D# min/F# MAJOR
or Gb MAJOR/...which is on the opposite side of the
circle of 5th ( ON PAPER)
6 O clock....from 12 O clock.
but I can easily see the TRITON ( D#/Eb) from A
becuase the strings are tuned in perfect 4th or inverted 5th.
It;s EASY on the Fretboard becuase...F# MAJOR/D#min
LOOKS/FINGERING are the as C MAJOR/Amin
or whatever other scales....
such as F# Harmonic MAJOR or C Harmonic MAJOR
F# Maj....B min/dim........C#7
if I play the F# Harmonic min
F# min B min/dim......C#7
The G chord is still the N6....either way. F# MAJOR or F# min .lol
or play to F#min/A MAJOR....PARALLEL to Amin/C MAJOR
F# to A ..is b3 Intervals apart.
so it makes sense to play DOMINANT, aug or dim chords
EVERY b3 intervals apart too. :-P
or you insert the N6 in between them.
There's PATTERNS to the madness.lol
becuase it's just INTERVALS ( measurments/MATH)
TONIC............................... other KEYS/TONIC
G# dim....A..... Bb Maj.........into Eb Harmonic MAJOR or min
B dim C Db/C# maj........ F# Harmonic
D dim Eb/D# E Maj....................A Harmonics
F dim F#Gb G Maj.................... C Harmonics
or to make it easier to remember...the b2 or b7
are also a possible pivot chords.
in a nutshell...
2, 4, b6, 7......b2, b7.....( 6 each degree) into Major or min
12 different KEYS counting from C MAJOR..or whatever key u start from.
That’s great