Of course, I'm still way off C minor, but modulating through minor-like modes and keys makes it easier (I hope). In case anyone's interested: I've solved, to my own satisfaction, the change of mode part of my question, in a rather unexpected way, by transitioning first to F sharp Aeolian. Some modulations lend themselves more towards the use of pivot chords than others but the modulation to the relative minor is an especially easy one to use them with. There is nothing that makes modulations as clear as Leading Tones resolving towards a Tonic. Then finally we would just have an E Major chord with a raised g# tha resolves correctly to now make it clear that we are in a minor. Now we are in the second chord of your second four bar phrase now you can go to the d minor chord that is again both C:ii and a:iv this is the second pivot chord you can use. Both these chords are a suitable resolution to your cadence. Now that six-chord of C major is an a minor chord, this is conveniently also the tonic chord of a minor. Let say your phrase ends on an interrupted cadence. So for instance, if you have a 4 bar phrase in C Major. A pivot chord(s) put simply is chords that fit in both the key you are modulating towards and the key you are coming from. Modulations should make use of pivot chords to make the modulation smooth.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |