Create an arrangement of Immortal Invisible: provide professional chart, with introduction, key change, turnaround. Create a second arrangement.
Modulation within and between pieces — a way to create interest, energy, and a sense of flow. Learn how to do it.
Modulation, the ability to segue within or between pieces with a similar or different meter, is discussed and demonstrated. The progression ii-V-I of the new key helps smooth modulations.
Learn how to change the mood during the modulation transition: triumphant to contemplative, or contemplative to triumphant. Modulations involving minor keys is included. Examples and exercises.
Revised 5.2014. 33 pages, 49 examples.
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Now we will explore ways to extend modulations, create moods, use motives, sequences, and to fashion more artistic, sophisticated, worshipful segues. At the end of the chapter, the iii – vi – ii – V – I chain of fifths will be employed.
Sus chords (eg., from bottom to top, C – F -G) omit the third of the chord and substitute a fourth. They have a broad application to both contemporary and traditional worship styles. They provide a colorful alternative to the standard dominant seventh which occurs frequently in hymn and chorus cadences. They are valuable in creating segues and in effecting modulations in the free-flowing praise format. They are eminently playable on both guitars and keyboards. We’ll look at how the sus4, sus7, and sus9 chords function.
To modulate means to change keys. When leading worship or performing in a Christian concert, there is often a need to modulate within pieces or to segue from one piece to another smoothly. This is especially true in contemporary worship where three to eight worship choruses/hymns may need to be connected in a seamless fashion.
This chapter stresses the basics: the importance of the V chord to propel songs into the new key, modulations involving various meters (4/4, 3/4, 6/8), walking the bass down or up, making entrances secure, and modulating within and between pieces.