Pivot chord modulation help

[Rycebag]

So from what I understand a pivot chord is a chord that two keys have in common and it is sorta like a bridge to where the progression can pivot in either direction. In the chapter in reading it explains that the best pivot chord is usually one with subdominant function. My question is do you want the pivot chord functioning as subdominant in the new key or the old? And my other question is does it even matter? I mean, as long as the two keys share the same chord right? Here are two pics of the chapter. In one of the pics if you look at exercise 3 I wrote pivot chord where G Is. Which makes it a flatVII in the key of A minor and a FlatIII in the key of E minor which is not a sub dom function.

 

[MalcolmAmos]

My two cents. Nothing more than what was said in the instruction example you gave. Perhaps seeing it in another format will help.

Sub-dominant chords like to move to dominant chords. Dominant chords like to move to their tonic chord.

So using a sub-dominant chord (the ii or IV) - of the new key - as a pivot point will draw you into the dominant chord of the new key and that dominant chord wanting to go to it's tonic chord would be a good way of establishing the new key.

The following helped me understand what chords like to do. Just because they like to move a certain way does not mean they have to move that way. All of the chords in one key will sound good with all the other chords in that key. If we let them move how they like good things normally happen.

The I tonic chord, can move anywhere in the progression it wants to, but, in doing so you resolve the tension and return to rest. Do you want to return to rest?

The ii chord is a sub-dominant chord. It likes to move to a dominant chord.

The iii chord is the move somewhere chord, it normally drags the vi with in in the move.

The IV chord is also a sub-dominant chord and likes to move to a dominant chord. As the ii and IV share likes they can sub for each other.

The V is the dominant chord. Making it a dominant seven chord increases it's tension and it wants to move to the tonic chord right now.

The vi chord wants to move to a sub-dominant chord.

The vii chord is the diminished chord and on top of this it is also a dominant chord, however, is in no hurry to move to the tonic chord. It is used as a move somewhere chord as in a turn-a-round, for example; vii-iii-vi-ii-V7-I. Here also the V and vii share likes and can sub for each other. Want to resolve quickly use the V want to move somewhere as in a turn-a-round use the vii.​

Move to the pivot chord - then let the pivot chord go - in it's key- where it likes to go..... would be an effective way to establish the new key.

 

[Thuddy Waters]

So from what I understand a pivot chord is a chord that two keys have in common and it is sorta like a bridge to where the progression can pivot in either direction. In the chapter in reading it explains that the best pivot chord is usually one with subdominant function.

What book is that?

 

[Rycebag]

My two cents. Nothing more than what was said in the instruction example you gave. Perhaps seeing it in another format will help.

Sub-dominant chords like to move to dominant chords. Dominant chords like to move to their tonic chord.

So using a sub-dominant chord (the ii or IV) - of the new key - as a pivot point will draw you into the dominant chord of the new key and that dominant chord wanting to go to it's tonic chord would be a good way of establishing the new key.

The following helped me understand what chords like to do. Just because they like to move a certain way does not mean they have to move that way. All of the chords in one key will sound good with all the other chords in that key. If we let them move how they like good things normally happen.

The I tonic chord, can move anywhere in the progression it wants to, but, in doing so you resolve the tension and return to rest. Do you want to return to rest?

The ii chord is a sub-dominant chord. It likes to move to a dominant chord.

The iii chord is the move somewhere chord, it normally drags the vi with in in the move.

The IV chord is also a sub-dominant chord and likes to move to a dominant chord. As the ii and IV share likes they can sub for each other.

The V is the dominant chord. Making it a dominant seven chord increases it's tension and it wants to move to the tonic chord right now.

The vi chord wants to move to a sub-dominant chord.

The vii chord is the diminished chord and on top of this it is also a dominant chord, however, is in no hurry to move to the tonic chord. It is used as a move somewhere chord as in a turn-a-round, for example; vii-iii-vi-ii-V7-I. Here also the V and vii share likes and can sub for each other. Want to resolve quickly use the V want to move somewhere as in a turn-a-round use the vii.​

Move to the pivot chord - then let the pivot chord go - in it's key- where it likes to go..... would be an effective way to establish the new key.

Nice! So with that being said, in the book when it's talking about using the sub dom as a pivot, it's because it strongly leads to the V that establishes the new key. But, it is possible to use something other than the sub dom as a pivot. Right?

 

[Rycebag]

What book is that?

"Harmony & theory" by musicians institute

 

[wrench45us]

any chord with a lot of shared notes between keys can serve as a pivot chord

but by definition a chord that is common to two keys

"The most common pivot chords are the predominant chords (ii and IV) in the new key."

Common chord (music) - Wikipedia, the free encyclopedia

the movement is to closely related keys that share the most common chords
sometimes you slip into another key so smoothly you hardly know it

This is relatively easy to understand with 3 note chords, but once you move to 4 note chords with 7ths it reduces the number of fully shared common chords, but they're mostly shared and the 7th helps define the key change and it's still pretty smooth.


"The most common modulation in the Beatles's music is a key change in the bridge, with the bridge beginning in the key a minor third above the tonic (e.g., verse in A major, bridge in C major)." a lot of shared notes, and chords close, but...


Things like V of V also server as a kind of pivot chord and general backfilling with ii V sequences, but maybe not by strict definition.
I think you actually have to establish something in the new key for a chord to be considered a pivot.

 

[BassChuck]

What that book is doing is limiting your options. You can change to any key you want. The easiest way is to simply go to a ii7 - V7 in the new key and Bob's your uncle, you're in a new key.

Try this in your practice. Play a scale and then modulate to a new key using two chords to bridge the gap. Try all the intervals. For instance: play a C scale then outline Fm7 (F note and Ab will take care of that), Bb7 (Bb note and D is all you need) and you're ready to play a Eb scale. This is a modulation to move up a minor 3rd. (practice it in all keys)

Here's another. The goal is to modulate up a major 6th. Play C scale. Then outline a Bm7b5 (a B note to F is all you need) then outline a E7 (E note and G# will work nicely) and you're ready for an A major scale (a major 6th above C).

After a while these things will get easier and you will be able to quickly pick chords to bridge the gap between any interval you have. It's a great way to learn your way around the neck and really helps ear training to.

 

[MalcolmAmos]

Nice! So with that being said, in the book when it's talking about using the sub dom as a pivot, it's because it strongly leads to the V that establishes the new key. But, it is possible to use something other than the sub dom as a pivot. Right?

I think the guys have already answered this. Yes the sub-dominant is not the only way you could lead to another key.

Check this out. The Complete Idiot's Guides | How to Articles for everyone, everywhere

 

[Thuddy Waters]

"Harmony & theory" by musicians institute

Nice! I actually have that book. I guess I'll have to crack it open now.

 

[Rycebag]

Nice! I actually have that book. I guess I'll have to crack it open now.

It's a really good book. I'd suggest it to anybody who wants to begin learning theory and have a working knowledge of it

 

[Rycebag]

What that book is doing is limiting your options. You can change to any key you want. The easiest way is to simply go to a ii7 - V7 in the new key and Bob's your uncle, you're in a new key.

Try this in your practice. Play a scale and then modulate to a new key using two chords to bridge the gap. Try all the intervals. For instance: play a C scale then outline Fm7 (F note and Ab will take care of that), Bb7 (Bb note and D is all you need) and you're ready to play a Eb scale. This is a modulation to move up a minor 3rd. (practice it in all keys)

Here's another. The goal is to modulate up a major 6th. Play C scale. Then outline a Bm7b5 (a B note to F is all you need) then outline a E7 (E note and G# will work nicely) and you're ready for an A major scale (a major 6th above C).

After a while these things will get easier and you will be able to quickly pick chords to bridge the gap between any interval you have. It's a great way to learn your way around the neck and really helps ear training to.

I feel like it was just giving me the most common way.

I think the guys have already answered this. Yes the sub-dominant is not the only way you could lead to another key.

Check this out. The Complete Idiot's Guides | How to Articles for everyone, everywhere

so I guess with that example from the book, they did show that with using G as the pivot chord you don't necessarily have to use sub dom as a pivot chord.

 

[Rycebag]

Anyways, that was the last chapter of the book and at the end it says to look back at the beginning of the book to the piece of music that is written out. Having a little trouble deciphering how some of the chords are working.

 

[mambo4]

I feel like it was just giving me the most common way.

I'll bet dollars to donuts very very few composers and song writers actually think "I will use a pivot chord here"

not sure of this will help but here is my back of the envelope analysis up to bar 11

• Key signature : one sharp, it's G major
• Gmaj7 : diatonic I chord
• Eb9: not diatonic! What's this chord doing?
• D7 (b9) : aha, Eb9 was a half step approach to D7. A b5 substitution.
• E-9: diatonic vi
• C-/Eb : not diatonic! What's this chord doing?
• B-/D : back to diatonic! hey C- was another half step approach. Same roots as before, in fact
• Emin : diatonic vi
• C#dim7: not diatonic! What's this chord doing? I know diminished 7 chords have many faces...could be any of C# E G Bb(A#)
• Bmaj7: not diatonic! but C#dim7 is also A#dim7 which resolves to Bmaj7.
• E9 : not diatonic! but it is a 5th away from Bmaj7. Are we going around the cycle of 5ths/4ths?
• Amaj7: not diatonic! but the cycle continues...
• Ab7/Eb: not diatonic! dropping a half step. Maybe be a b5 sub stitution leading to G , our home...
• Db : nope . Just another V7-I aroud the cycle. boy we sure are far from G major!
• Ab+ /C : A flat augmented? ***. I wanna pick this one apart. Ab C E , C is the root, , THAT is in G. Maybe an altered VI chord?
• Ddim7: another chameleon chould be D F Ab Cb dim7
• Bb/D : Bb D F . hmmm if the previous chord is Fdim7, we have a C-F-Bb around the cycle
• Ebmin : cycle continues
• C/E : a half step down and we're back in G
• Fmin: diatonic ii [EDIT: mistake, Fmin is also non diatonic to G]

...etc

at any given moment I'm not particularly interested in "what key have I modulated into NOW?".
every time I see a non-diatonic chord I ask what it's doing (look for context)
commonly ( in jazz) when non diatonic chords show up there are one of two things going on:

• half step approaches
  
• following the cycle

When neither of these two is obvious, I pick apart the chord tones and look at the voice leading
...or I just accept the composers choice and move on with my life

This may not help you pass any quizzes on pivot chords, however.

 

[Rycebag]

I'll bet dollars to donuts very very few composers and song writers actually think "I will use a pivot chord here"

not sure of this will help but here is my back of the envelope analysis up to bar 11

• Key signature : one sharp, it's G major
• Gmaj7 : diatonic I chord
• Eb9: not diatonic! What's this chord doing?
• D7 (b9) : aha, Eb9 was a half step approach to D7. A b5 substitution.
• E-9: diatonic vi
• C-/Eb : not diatonic! What's this chord doing?
• B-/D : back to diatonic! hey C- was another half step approach. Same roots as before, in fact
• Emin : diatonic vi
• C#dim7: not diatonic! What's this chord doing? I know diminished 7 chords have many faces...could be any of C# E G Bb(A#)
• Bmaj7: not diatonic! but C#dim7 is also A#dim7 which resolves to Bmaj7.
• E9 : not diatonic! but it is a 5th away from Bmaj7. Are we going around the cycle of 5ths/4ths?
• Amaj7: not diatonic! but the cycle continues...
• Ab7/Eb: not diatonic! dropping a half step. Maybe be a b5 sub stitution leading to G , our home...
• Db : nope . Just another V7-I aroud the cycle. boy we sure are far from G major!
• Ab+ /C : A flat augmented? ***. I wanna pick this one apart. Ab C E , C is the root, , THAT is in G. Maybe an altered VI chord?
• Ddim7: another chameleon chould be D F Ab Cb dim7
• Bb/D : Bb D F . hmmm if the previous chord is Fdim7, we have a C-F-Bb around the cycle
• Ebmin : cycle continues
• C/E : a half step down and we're back in G
• Fmin: diatonic ii

...etc

at any given moment I'm not particularly interested in "what key have I modulated into NOW?".
every time I see a non-diatonic chord I ask what it's doing (look for context)
commonly ( in jazz) when non diatonic chords show up there are one of two things going on:

• half step approaches
  
• following the cycle

When neither of these two is obvious, I pick apart the chord tones and look at the voice leading
...or I just accept the composers choice and move on with my life

This may not help you pass any quizzes on pivot chords, however.

cool man thanks for pointing some things out for me when my brain is over loading. I find myself asking more and more what the chords are doing anytime I see something non diatonic as it really interest me. The Bmaj7 to Ebmin is still a little tricky to me but I get how its moving. also how is the Fmin a diatonic ii if it's back in G?

 

[mambo4]

Bmaj7 to Ebmin is still a little tricky to me

I don't see that. what measure is it?

also how is the Fmin a diatonic ii if it's back in G?

It's not, that's a mistake

 

[Rycebag]

I don't see that. what measure is it?

That whole sequence from bmaj7 Ebmin

It's not, that's a mistake

That's what I thought

 

[mambo4]

So you are looking at all of measure 5 to measure 9

I should modify my earlier statement:
commonly ( in jazz) when non diatonic chords show up there are one of two things going on:

• voice leading choices
• following the cycle

Voice leading can almost always answer any *** chord reasoning:
see how each voice goes from bar 5 to 8:

Bmaj7   B D F# A#
E9      E G B D F#  (cycle)

Amaj7   A C# E G# (cycle)
Ab7/Eb   Eb C Gb Ab  (voice leading)

Db      Db F Ab (cycle)
Ab+/C   C  E Ab  (cycle)

Ddim7   D  F Ab Cb (cycle)
Bb/D   D  F Bb (voice leading)

Ebmin    Eb Gb Bb  (cycle)

even in the (cycle) chord motions there is still some smooth, step wise voice leading.

at a certain point however, I stop analyzing and just listen. your ears can perceive the musical logic much more quickly than your brain can extract the theory.

anyhow hope some of this helps

 

[MattStonewall]

"Harmony & theory" by musicians institute

How do you like this book? I was looking at it online and under the chapters I saw a lot of what I already know but I would like to find a book to help me learn some new techniques on writing chord progressions etc.

 

[Rycebag]

How do you like this book? I was looking at it online and under the chapters I saw a lot of what I already know but I would like to find a book to help me learn some new techniques on writing chord progressions etc.

It's a good book! Solid info in there and definitely enough to get you going on a working musician level. There's stuff in there on the dimished 7th chord, secondary dominants, modal interchange, direct & pivot chord modulation. Solid book.