| Author |
Topic: Most common modulations? Why? |
Tim Toberer
From:
Nebraska, USA
|
Posted 18 Oct 2024 8:35 am |
|
I just learned the chords for Barney Isaacs jr's Blue Hawaii and the last part is a modulation from C to Eb. The actual chords go from the C (I chord) at the end of the A part to Ab which in the Key of Eb is the IV chord, but from C it is bVI or #V not sure which is proper. He actually starts with the B part played in Eb if you aren't already confused! This seems to be a common modulation. Any others? this is something I never really thought about, I just figure out what it is and play it. I am sure this is a common Mod in jazz and popular music as well. Maybe it just sounds good. That is a good explanation.
Last edited by Tim Toberer on 20 Oct 2024 11:10 am; edited 1 time in total |
|
|
 |
Bill McCloskey
|
Posted 18 Oct 2024 9:14 am
|
|
...
Last edited by Bill McCloskey on 18 Oct 2024 12:50 pm; edited 1 time in total |
|
|
|
Mike Neer
From:
NJ
|
Posted 18 Oct 2024 9:21 am
|
|
Modulations that work all have one thing in common: they sound good. Usually there is a common element that ties them together. In this case, the note C is the common element in that it is the root of C and the VI of Eb (the relative minor). so there is a strong harmonic connection--like going from C major to C minor. The other thing is that the C is the 3rd of the Ab chord, so the modulation begins there in a pleasing way--it's not a shock modulation. The Ab chord is the IV of Eb, and actually could be Fmi7, or the ii7 of Eb, which would progress to Bb7 signaling the final modulation.
It is really great to study modulations everywhere you hear them. I started really getting into it when I was composing and arranging music for the Moonlighters, and I listened to a lot of big band arrangements, which usually modulate for the vocalist. Some modulations are very creative.
I also pay attention to modulations everywhere I hear them. Check out XTC for some very imaginative modulations. Also, read Max Reger's "Modulation" https://amzn.to/3AguMQe for some very advanced concepts.
_________________
Links to streaming music, websites, YouTube: Links |
|
|
|
Brooks Montgomery
From:
Idaho, USA
|
Posted 18 Oct 2024 10:26 am
|
|
Fascinating stuff. Thanks. I’ve always taken the Forrest Gump box of chocolates approach to modulations. I’ll have to start flexing the brain pan more.
_________________
A banjo, like a pet monkey, seems like a good idea at first. |
|
|
|
Jack Hanson
From:
San Luis Valley, USA
|
|
|
|
Marty Broussard
From:
Broussard, Louisiana, USA
|
Posted 18 Oct 2024 12:02 pm
|
|
👀
_________________
RETIRED
Former steel guitarist for Tracy Byrd & The Byrd Dawgs, Mark Chesnut & The New South Band, Mark Nesler & Texas Tradition, Wayne Toups & ZydeCajun, Belton Richard & The Musical Aces
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
|
|
|
D Schubert
From:
Columbia, MO, USA
|
Posted 18 Oct 2024 1:02 pm
|
|
I have always figured that modulations were most practically useful when moving from a verse backed by strings (in one of the cowboy keys) to a verse or a bridge where the songs needs a kick in the a** from the horn section (now we're playing in flats). In many cases it is also something that sounds good, with a hat tip to the arranger or the producer.
It's also a solid way that a vocal duo can deliver their individual verses in keys suited to their vocal ranges, and then get back to a key where the vocal harmony sounds right.
Modulating up a half-step or a step just for the sake of modulating feels corny to me. YMMV.
_________________
GFI Expo S-10PE, Sho-Bud 6139, Fender 2x8 Stringmaster, Supro consoles, Dobro. And more. |
|
|
|
Joe A. Roberts
From:
Seoul, South Korea
|
|
|
|
Fred Treece
From:
California, USA
|
Posted 18 Oct 2024 6:22 pm
|
|
C to Ab could also be used for a more obvious purpose, modulating up a half step. The Ab chord would the V7 of Db. Very common in songs where nothing else notable happens harmonically, but modulating up lends a little drama for a quality vocal performance. A good example would be He Stopped Loving Her Today.
C - Ab7 - Db
The original version of Dream A Little Dream Of Me modulates to the key of the b3 for the chorus by dropping down a whole step from the tonic and using that b7 chord as the V7 for the new key:
C - Bb7 - Eb
The redo by the Mamas And The Papas modulates to the key of the major 6th using the III7:
C - E7 - A
Yep, they all sound good. The secret is to make it sound seamless. I hate getting banged over the head with a modulation.
Emmylou Harris’ Hot Band did every kind of modulation you can imagine. She is the only singer I know of who would modulate a song so she could sing a harmony part and let one of the “backup” vocalists take the melody line. |
|
|
|
Tim Toberer
From:
Nebraska, USA
|
Posted 19 Oct 2024 6:13 am
|
|
This is great! If you scroll down to the August 15 Mod entry, they hilariously confuse Jimmie Rodgers (the pop singer) with Jimmie Rodgers the Singing Brakeman.
Great insight all around on this. That really makes sense about modulating for the benefit of the vocalists. I have started to notice these everywhere now, it is time to start figuring more out. The diminished chord is about the most useful chord I have found for tying things together. It is kind of a wormhole in the cycle of 5ths. Modulating up or down seems to be the most common and gets tired pretty quickly, but is still effective.
| Quote: |
| Check out XTC for some very imaginative modulations. |
I have been listening to XTC since the 1980s, but not anytime recently. What a great band! I will have to revisit them. |
|
|
|
D Schubert
From:
Columbia, MO, USA
|
Posted 19 Oct 2024 8:01 pm
|
|
This Jimmy Webb tune has a modulation before the last verse, a step-and-a-half, that is pretty dramatic....
https://youtu.be/36L2mWFp6gk?si=Nv2G94QzTPe3xRB3
_________________
GFI Expo S-10PE, Sho-Bud 6139, Fender 2x8 Stringmaster, Supro consoles, Dobro. And more. |
|
|
|
D Schubert
From:
Columbia, MO, USA
|
Posted 19 Oct 2024 8:17 pm
|
|
Another interesting modulation in the middle of the last chorus, a step-and-a-half, that caught my ear from the first time I heard it.....
https://www.youtube.com/watch?v=8RxCDoF5A74
_________________
GFI Expo S-10PE, Sho-Bud 6139, Fender 2x8 Stringmaster, Supro consoles, Dobro. And more. |
|
|
|
Bob Shilling
From:
Berkeley, CA, USA
|
Posted 20 Oct 2024 11:13 am
|
|
| Fred Treece wrote: |
... The original version of Dream A Little Dream Of Me modulates to the key of the b3 for the chorus by dropping down a whole step from the tonic and using that b7 chord as the V7 for the new key:
C - Bb7 - Eb
The redo by the Mamas And The Papas modulates to the key of the major 6th using the III7:
C - E7 - A
Yep, they all sound good. The secret is to make it sound seamless. I hate getting banged over the head with a modulation. ... |
Fred,
I agree - they all sound good. I thought Ozzie's original version modulated from F to Db(b6). Is there another "original"  ?
My favorite cover is by "The Beautiful South" with Jaqui Abbot on vocals. She does the same C-A modulation as Mama Cass.
_________________
Bob Shilling, Berkeley, CA--MSA S10, "Classic" |
|
|
|
John Larson
From:
Pennsyltucky, USA
|
Posted 20 Oct 2024 2:25 pm
|
|
Another common one is going up a whole tone to the next major key in a song. George Strait's "Amarillo By Morning" does this masterfully. It works well if the singer can pull off the change and it really takes a song to the stratosphere for the climax.
From D major
D, F#m, G, A
I, iii, IV, V
To E major midway through with a B chord transition
E, G#m, A, B7
I, iii, IV, V7
That V7 works real well pulling it back to the I.
Can someone print up "Make the V7 Chord Great Again" hats 😂
That's a key thing missing from most non country 21st century music.
_________________
Rejoice in the Lord, O ye righteous; praise is meet for the upright. Give praise to the Lord with the harp, chant unto Him with the ten-stringed psaltery. Sing unto Him a new song, chant well unto Him with jubilation. For the word of the Lord is true, and all His works are in faithfulness. The Lord loveth mercy and judgement; the earth is full of the mercy of the Lord.
- Psalm 33:1-5 |
|
|
|
Fred Treece
From:
California, USA
|
Posted 20 Oct 2024 5:42 pm
|
|
| Quote: |
| I agree - they all sound good. I thought Ozzie's original version modulated from F to Db(b6). |
Bob,
Maybe that’s why it always sounds funny when I play it 🤓
You are exactly right.
In all the examples I gave, I used C as the “home” key, just to make my fraudulent explanation a little easier to grasp.
Dream A Little Dream also features an interesting way of getting out of the chorus key, which I mentally simplify as dropping down a half step to the V7 of the home key.
Ab - Fm | Dm - G7 | C
The Mama Cass version has to drop down a full step, which sounds maybe a little tedious going a half step at a time. But hey, a hit is a hit.
A - Fm | Ab7 - G7 | C
I like having a V7 ahead of the target key in a modulation. It makes the transition seem more natural. Probably an influence from hearing All The Things You Are a jillion times. |
|
|
|
Rich Arnold
From:
Tennessee, USA
|
Posted 21 Oct 2024 5:55 am
|
|
When the big bands from the age of swing featured a singer, they would often change keys for the singer's sake. That way the cats could blow in the key they were familiar with and when they changed keys, all they had to do was comp.
I enjoy a change of keys when improvising because it opens up a whole new set of possibilities.
Charlie Parker's version of "Laura" with strings changes keys. |
|
|
|
Andy Volk
From:
Boston, MA
|
Posted 21 Oct 2024 7:54 am
|
|
Cool, informative thread. Thanks for all the good info.
_________________
Steel Guitar Books! Website: www.volkmediabooks.com |
|
|
|
Jerry Overstreet
From:
Louisville Ky
|
Posted 21 Oct 2024 8:43 am
|
|
Modulations add flavor and interest.
I use modulations in my instumentals for songs that don't have a chorus or a bridge to extend the tune. |
|
|
|
