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i like the VII (Maj 7 interval) leading tone/leading
note...especially on bass...dissonant, yet, totally "surf"
like B > C or E > F...or G > Ab
those kind of chord combos and resolutions sound surf-y
too...
-dp
--- Eric <> wrote:
> It's only modulation if you change keys for an extended
> period of
> time, otherwise it's called tonicization. The best method
> for
> modulation or tonicization is to use an authentic cadence
> (V/x-I/x),
> preferrably a perfect authentic cadence (where the lead
> voice goes to
> the new root note by step). You don't have to though,
> sometimes you
> could be a little more abrupt, and that can be cool too,
> as long as it
> doesn't sound rediculous. It's best to modulate or
> tonicize into keys
> whose tonic triad is within the original key, to change
> into a key
> whose I chord is in the original key. For major this
> would be : vi
> (relative minor, same key signature), V (is usually
> pleasant sounding
> because it can resolve well into the modulation and
> resolve well back
> into the original key), iii, IV, and ii. The best
> sounding keys to
> modulate to while in a major key are V, vi, and iii. For
> minor III
> (relative major, same key sig.), iv, VI, v, VII. The best
> sounding for
> minor typically are: III, v, and VI. It sounds weird in a
> minor key to
> modulate to a major V even though that is the better to
> use a major
> five chord (major dominant) in minor to lead back to I
> (tonic), this
> probably due to the leading tone. It wouldn't sound like
> a resolution
> into the other key.
> eric
>
> --- In , DP <noetical1@y...>
> wrote:
> > eric wrote:
> >
> > "...also a good method of changing keys: for this
> example:
> > Am, G#dim, Am, G, C..."
> >
> > AKA: "modulation", changing from one key to another
> > mid-song. (more music theory geek-speak)
> >
>
>
>
>
>
> .
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