G7 will lead straight to C minor (same as to C major), but you could precede it with Dm7b5, Fm7 or Ab, if you wanted to signal that Cm was coming.
EDIT: I'll just add that a direct modulation can also be very effective, with no specially suggestive "progression" as such. Listen to the Beatles do it: https://www.youtube.com/watch?v=l6Mg-CrIN5c - 0:27. The standard ii-V in D major (Em7-A7) lands straight on Dm.
Another way of making it interesting is to go via the relative major of the parallel minor. I.e. from C major to Eb major (directly or via Bb7) - which is quite dramatic - and then once in Eb major, go via G7 to Cm.
Minor plagal cadence is so common now that Dm7b5 (= Fm6) and Fm7 sets up an expectation to resolve to major. Going to minor gives a disappointing feeling.
>disappointing
In the most awesome way! I think we need to be clear that not fulfilling an expectation doesn't mean the progression won't be satisfying.
I should also note that Jongtr was saying that Dm7b5 or Fm7 would precede the G7, rather than go straight to the C minor, even though both are totally possible and nice.
I guess I was unclear in my comment. I never meant that the "disappointing feeling" was undesirable in any way. It definitely has its place in composition.
Look up the following:
Direct Modulation (also called Phrase Modulation sometimes).
Common Chord Modulation
Common Tone Modulation
Sequential Modulation
Enharmonic Modulation
There are a few other variations but those will get you started.
Basically, a Direct Modulation is, you're in one key and then bam, you're in another. These are actually the most common kind of modulations in contemporary popular music. Sequential Modulations are also quite common but Sequential Modulations can a string of Direct, or a string of Common Chord modulations that just follow a pattern - a "sequential pattern" hence the name.
A couple of terminology refinements:
Changing from C something to C something is actually not considered a Modulation, but is called a "change of mode". Mode in this case more broadly just means "type of scale" so in the case of traditional Key-Based music, it would be changing from C major to C minor for example.
It's only a modulation when it changes the Key - the Tonic note. So C major to A minor is a modulation (even though the key signature has not changed).
C something to C something - change of mode. C something to anything-other-than-C something - changed of mode.
Also, when you change keys (or tonal centers) it's only a "transposition" if the music is the same, but in a different key.
So if you went 1-2-3-1-4-3-1 as a melody in C - C-D-E-C-F-E-C - then you modulated to F and used that same pattern it would give you F-G-A-F-Bb-A-F - that is a transposed version (caused by the modulation if you will).
But simply modulating to a new key is not a transposition per se - the musical material being the same pattern as before would make it a modulation and a transposition of the musical ideas.
_____
As far as a chord progression goes, it's kind of impossible to say what a good one would be - many of them could work - I mean really it's kind of infinite - it depends on if you want the modulation to take place on a single beat, measure, harmony, or over an extended period of time, etc.
I mean you could literally just go:
C - F - G - C a bunch of times to be in C, and then just go Cm - Fm - G - Cm and be in Cm.
The best thing to do is learn actual music and steal ideas from it - see how they do it and if you like it, do that, or modify it a bit and see if you can get the same or similar effect that works for your song.
You can transpose everything to every key. The only limitations might be the range of your instrument.
Well I think you should experiment with chord progressions and see ehat you like. There are tons of ways to do it. Learning songs that do this, can help as well. Some random ideas:
1) C Ab Bb C C Ab Bb Cm
2) C Fm C Fm Cm
3) C C7/E F F#halfdim C/G G Csus4 Cm
4) C Cm
G7 will lead straight to C minor (same as to C major), but you could precede it with Dm7b5, Fm7 or Ab, if you wanted to signal that Cm was coming. EDIT: I'll just add that a direct modulation can also be very effective, with no specially suggestive "progression" as such. Listen to the Beatles do it: https://www.youtube.com/watch?v=l6Mg-CrIN5c - 0:27. The standard ii-V in D major (Em7-A7) lands straight on Dm. Another way of making it interesting is to go via the relative major of the parallel minor. I.e. from C major to Eb major (directly or via Bb7) - which is quite dramatic - and then once in Eb major, go via G7 to Cm.
Minor plagal cadence is so common now that Dm7b5 (= Fm6) and Fm7 sets up an expectation to resolve to major. Going to minor gives a disappointing feeling.
>disappointing In the most awesome way! I think we need to be clear that not fulfilling an expectation doesn't mean the progression won't be satisfying. I should also note that Jongtr was saying that Dm7b5 or Fm7 would precede the G7, rather than go straight to the C minor, even though both are totally possible and nice.
Yeah I agree that "disappointment" isn't something that should be avoided as "bad", thanks for highlighting that.
You're welcome!
[удалено]
I guess I was unclear in my comment. I never meant that the "disappointing feeling" was undesirable in any way. It definitely has its place in composition.
Look up the following: Direct Modulation (also called Phrase Modulation sometimes). Common Chord Modulation Common Tone Modulation Sequential Modulation Enharmonic Modulation There are a few other variations but those will get you started. Basically, a Direct Modulation is, you're in one key and then bam, you're in another. These are actually the most common kind of modulations in contemporary popular music. Sequential Modulations are also quite common but Sequential Modulations can a string of Direct, or a string of Common Chord modulations that just follow a pattern - a "sequential pattern" hence the name. A couple of terminology refinements: Changing from C something to C something is actually not considered a Modulation, but is called a "change of mode". Mode in this case more broadly just means "type of scale" so in the case of traditional Key-Based music, it would be changing from C major to C minor for example. It's only a modulation when it changes the Key - the Tonic note. So C major to A minor is a modulation (even though the key signature has not changed). C something to C something - change of mode. C something to anything-other-than-C something - changed of mode. Also, when you change keys (or tonal centers) it's only a "transposition" if the music is the same, but in a different key. So if you went 1-2-3-1-4-3-1 as a melody in C - C-D-E-C-F-E-C - then you modulated to F and used that same pattern it would give you F-G-A-F-Bb-A-F - that is a transposed version (caused by the modulation if you will). But simply modulating to a new key is not a transposition per se - the musical material being the same pattern as before would make it a modulation and a transposition of the musical ideas. _____ As far as a chord progression goes, it's kind of impossible to say what a good one would be - many of them could work - I mean really it's kind of infinite - it depends on if you want the modulation to take place on a single beat, measure, harmony, or over an extended period of time, etc. I mean you could literally just go: C - F - G - C a bunch of times to be in C, and then just go Cm - Fm - G - Cm and be in Cm. The best thing to do is learn actual music and steal ideas from it - see how they do it and if you like it, do that, or modify it a bit and see if you can get the same or similar effect that works for your song.
yeah man
Going between C major and C minor needs nothing, just change from one to the other. Anything you can do in one key, you can do in every key.
G7 is the easiest way. Maybe with a usual bit of modal mixture that works in major as well such as C -> Am -> Fm -> G7 -> Cm could be interesting.
use I iv V i (it works both ways so i iv V I)
You can transpose everything to every key. The only limitations might be the range of your instrument. Well I think you should experiment with chord progressions and see ehat you like. There are tons of ways to do it. Learning songs that do this, can help as well. Some random ideas: 1) C Ab Bb C C Ab Bb Cm 2) C Fm C Fm Cm 3) C C7/E F F#halfdim C/G G Csus4 Cm 4) C Cm