The C minor chord is present as iv in the key of G minor and as ii in the key of B-flat major. The D minor chord is present as ii in the key of C major and as iv in the key of A minor, thereby serving as the pivot chord. Ab major seventh (Ab C Eb G) Chord V B flat major (Bb D F). I Eb major, Eb major seventh (Ebmaj, Ebmaj7). Those for major chords are capitalized while minor and diminished chords are lower case. The C minor chord functions as i in the key of C minor and as iv in the key of G minor. Roman numerals indicate each chord’s position relative to the scale. The C major first inversion chord is present as I 6 in the key of C major and IV 6 in the key of G major, thereby serving as the pivot chord. These examples only show how to smoothly and musically move from one key to another. Modulations occur within compositions and are preceded and followed by other phrases. Pivot chords are often the subdominant in the new key, but other pivot chords are also possible. In the Roman numeral analysis, indicate the function of the pivot chord in both keys and then continue the analysis in the new key with accidentals indicating the altered notes over the bass. From that point on, harmonize in the new key and establish it with a cadence. ![]() The key is established using a chord progression that includes a dominant chord, until reaching the pivot chord that is present in both keys. The most common pivot chord modulations in minor keys are: We can apply the parallel approach visually using our scale finder and shifting the mode patterns learned so far to the key of C.The most common pivot chord modulations in major keys are: The major modes, the ones with the major 3rd, are: Ionian, Lydian and Mixolydian. The minor modes are Dorian, Phrygian, Aeolian and Locrian (to be more precise, the Locrian would be a diminished Like in chords, we can divide the modes in minor modes and major modes, by looking at their 3rd degree: Minor Modes Yes, Parallel modes share the same root.Īs an aside, parallel modes are at the foundation of modal interchanges, a way to make chord progressions more interesting.īy looking at the steps and half-steps in the relative modes table, we can derive the formula for each mode: Mode Name With the Parallel approach, we take all the modes we have learned with the Relative approach, and translate them to the same root. To learn how to apply modes to real music, we also have to deal with the parallel approach The Modes: Parallel Approach If we would stop here, modes would be just an unuseful complication: why bother with strange names if they share the same notes and we are just playing the major scale with different patterns? The picture below shows all the relative modes display together: as you'll notice, they form a fretboard map of the major scale! To complete the puzzle, we also need the parallel approach (see below). With our scale finder, we have created the following patterns: Each starting note gives life to a very specific feeling, even if we use only notes of the major scaleĪt this point, guitarists usually learn how to play these seven modes on the fretboard, even if this relative approach only teaches 7 different ways to play the major scale (more ![]() Try to play these sequences and listen to the sound. You'll notice that the Ionian Mode is exactly the same of the Major Scale, and the Aolian Mode is another name for the Minor Here are the technical names and scale degrees of C major scale. By expanding the concept of relative minor scale, we have: Starting Note But, each scale degree has another name which is called the technical names of the scale. ![]() Again, same note of the major scale, but played starting from a different degree (6th). In the case of the C major scale, the relative minor is the A minor scale. Probably you have already encountered the concept of relative minor scale: the scale built from the sixth degree of a major scale is called relative minor. Each starting note gives life to a very specific feeling, even if we use only notes of the major scale How The Relative Approach Relates To Modes? ![]() As the notes involved here are only the ones composing the major scale, we can say that we've just seen different ways to play the major scale.
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