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What are some nice/clever ways to introduce the tonic's dominant seventh chord?
What chord is this and when is it the dominant?I-IV-V blues progressionScale degree in minor keyHarmonic analysis of “Walk this Way” by AerosmithTips on Memorizing Chords that are in Different ScalesWhat's going on in measures 11 - 16 of Beethoven's Sonata Appasionata?Why is the third triad dominant?Use of the VI and v chord in a minor key, subdominant and dominant functional use?When was the dominant ninth chord incorporated in music theory?Is the secondary dominant the same if my target chord is a major or minor of the same root?
I'm in C minor and want to modulate to its subdominant key of F minor. One way to do this is to introduce the tonic flat seventh chord C-E-G-B♭, which is the dominant seventh chord of F minor. Other than outright juxtaposing this chord next to the tonic triad of C minor, what are some clever ways of 'smuggling' B♭ into my chord progression? Something with the descending minor scale perhaps?
theory chord-progressions modulation baroque-period romantic-period
edited Mar 15 at 12:18
Glorfindel
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
add a comment |
I'm in C minor and want to modulate to its subdominant key of F minor. One way to do this is to introduce the tonic flat seventh chord C-E-G-B♭, which is the dominant seventh chord of F minor. Other than outright juxtaposing this chord next to the tonic triad of C minor, what are some clever ways of 'smuggling' B♭ into my chord progression? Something with the descending minor scale perhaps?
theory chord-progressions modulation baroque-period romantic-period
edited Mar 15 at 12:18
Glorfindel
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
1
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
1
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18
add a comment |
I'm in C minor and want to modulate to its subdominant key of F minor. One way to do this is to introduce the tonic flat seventh chord C-E-G-B♭, which is the dominant seventh chord of F minor. Other than outright juxtaposing this chord next to the tonic triad of C minor, what are some clever ways of 'smuggling' B♭ into my chord progression? Something with the descending minor scale perhaps?
theory chord-progressions modulation baroque-period romantic-period
edited Mar 15 at 12:18
Glorfindel
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
I'm in C minor and want to modulate to its subdominant key of F minor. One way to do this is to introduce the tonic flat seventh chord C-E-G-B♭, which is the dominant seventh chord of F minor. Other than outright juxtaposing this chord next to the tonic triad of C minor, what are some clever ways of 'smuggling' B♭ into my chord progression? Something with the descending minor scale perhaps?
theory chord-progressions modulation baroque-period romantic-period
theory chord-progressions modulation baroque-period romantic-period
edited Mar 15 at 12:18
Glorfindel
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
edited Mar 15 at 12:18
Glorfindel
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
edited Mar 15 at 12:18
Glorfindel
1,30011218
edited Mar 15 at 12:18
Glorfindel
1,30011218
edited Mar 15 at 12:18
Glorfindel
1,30011218
1,30011218
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
asked Mar 14 at 23:42
Kim FierensKim Fierens
661611
661611
1
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
1
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18
add a comment |
1
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
1
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18
1
1
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
1
1
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18
add a comment |
3 Answers
3
active
oldest
votes
Here are some simple ideas for getting from C minor to F minor without anything too outlandish. Obviously these are schematic. Since the dominant seventh chord is about as unsurprising as it gets, if you want to 'smuggle' the modulation in you have to go somewhere else first. The first example is about as simple as it gets without introducing the dominant seventh directly. The second feels more like it's going to F major, so F minor can be a slight surprise.
answered Mar 15 at 1:00
repletereplete
3,258722
add a comment |
One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord.
The following example is in C major, but you still get the idea. Hear it here.
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
add a comment |
You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural.
If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.
edited Mar 15 at 12:38
Glorfindel
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
add a comment |
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3 Answers
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3 Answers
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votes
Here are some simple ideas for getting from C minor to F minor without anything too outlandish. Obviously these are schematic. Since the dominant seventh chord is about as unsurprising as it gets, if you want to 'smuggle' the modulation in you have to go somewhere else first. The first example is about as simple as it gets without introducing the dominant seventh directly. The second feels more like it's going to F major, so F minor can be a slight surprise.
answered Mar 15 at 1:00
repletereplete
3,258722
add a comment |
Here are some simple ideas for getting from C minor to F minor without anything too outlandish. Obviously these are schematic. Since the dominant seventh chord is about as unsurprising as it gets, if you want to 'smuggle' the modulation in you have to go somewhere else first. The first example is about as simple as it gets without introducing the dominant seventh directly. The second feels more like it's going to F major, so F minor can be a slight surprise.
answered Mar 15 at 1:00
repletereplete
3,258722
add a comment |
Here are some simple ideas for getting from C minor to F minor without anything too outlandish. Obviously these are schematic. Since the dominant seventh chord is about as unsurprising as it gets, if you want to 'smuggle' the modulation in you have to go somewhere else first. The first example is about as simple as it gets without introducing the dominant seventh directly. The second feels more like it's going to F major, so F minor can be a slight surprise.
answered Mar 15 at 1:00
repletereplete
3,258722
Here are some simple ideas for getting from C minor to F minor without anything too outlandish. Obviously these are schematic. Since the dominant seventh chord is about as unsurprising as it gets, if you want to 'smuggle' the modulation in you have to go somewhere else first. The first example is about as simple as it gets without introducing the dominant seventh directly. The second feels more like it's going to F major, so F minor can be a slight surprise.
answered Mar 15 at 1:00
repletereplete
3,258722
edited Mar 15 at 1:07
answered Mar 15 at 1:00
repletereplete
3,258722
answered Mar 15 at 1:00
repletereplete
3,258722
answered Mar 15 at 1:00
repletereplete
3,258722
3,258722
add a comment |
add a comment |
One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord.
The following example is in C major, but you still get the idea. Hear it here.
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
add a comment |
One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord.
The following example is in C major, but you still get the idea. Hear it here.
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
add a comment |
One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord.
The following example is in C major, but you still get the idea. Hear it here.
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord.
The following example is in C major, but you still get the idea. Hear it here.
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
answered Mar 15 at 1:11
RichardRichard
43.4k7100186
43.4k7100186
add a comment |
add a comment |
You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural.
If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.
edited Mar 15 at 12:38
Glorfindel
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
add a comment |
You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural.
If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.
edited Mar 15 at 12:38
Glorfindel
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
add a comment |
You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural.
If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.
edited Mar 15 at 12:38
Glorfindel
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural.
If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.
edited Mar 15 at 12:38
Glorfindel
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
edited Mar 15 at 12:38
Glorfindel
1,30011218
edited Mar 15 at 12:38
Glorfindel
1,30011218
edited Mar 15 at 12:38
Glorfindel
1,30011218
1,30011218
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
answered Mar 15 at 1:01
Laurence PayneLaurence Payne
36.6k1671
36.6k1671
add a comment |
add a comment |
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1
What's the style? This affects how exotic suggestions can be.
– replete
Mar 14 at 23:57
My own mixture of baroque and romantic. ;-) Nothing too outlandish, please.
– Kim Fierens
Mar 15 at 0:07
1
The problem is that B flat is already a legitimate note in C minor. If you want an example of loads of B flats in a C minor piece, there's Elgar's Pomp and Circumstance March No. 3 in C Minor. Granted, he never goes to F minor in that piece, and he does juxtapose a Cm chord with a C7 chord in that piece.
– Dekkadeci
Mar 15 at 0:18