©2014 Barry Liesch ch31 Establishing the New Key—Modulation I 1

Revised 2.13.2014 Chapter 31

Establishing the New Key—Modulation I
• 30 pages
• 55 examples

To modulate means to change keys. When leading worship or performing in a Christian

concert, it is often desirable to create a sense of flow between pieces. This is especially
true in contemporary worship where two to six worship choruses/hymns may need to be
connected seamlessly. Modulations are often indispensible to effect smooth transitions.

This chapter addresses basic ways to create simple, short modulations: three different V
chords are employed to propel songs into the new key. For example, to establish the key
of C, you would need one of these V chords — V7, Vsus, or IV/5.

Example 31.1

G7 Gsus F G
This chapter explores modulations within
and between pieces, modulations in
different meters, ways of walking the bass
up or down, ensuring that entrances are
secure, and modulations up a half or whole
step, since they occur most frequently.
V7 Vsus IV/5

The next chapter focuses on creating smoother, longer, and more emotional modulations.

OUTLINE REPERTOIRE
Modulations with No Transition God is So Good
Finding the V Chord & its Alternatives We Bring a Sacrifice of Praise/I Will Enter
Half Step Modulations His is Exalted/Great is the Lord
Whole Step Modulations Amazing Grace
Vsus, Vsus7, Vsus9 as Modulation Chord Be Thou My Vision
Short V9sus Modulations Between Pieces Seek Ye First
Four Over Five: Simplifying the Sus9 Open My Eyes, Lord
Bass Walks Down to the V9sus Chord Majesty/In Christ Alone
Bass Walks Up to the New Key One Thing Remains (Your Love Never Fails)
Timing Entrances: Downbeats, Upbeats Glory to God Forever
Practice Modulations Within Pieces Come Thou Almighty King
Modulation can be Overdone What a Mighty God We Serve
Rules of Action Blessed Assurance
Project Jesus, Names Above All Names
Next Chapter Holy Holy Holy à O the Deep Deep Love
Be Thou My Vision à Joyful Joyful
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Modulations with No Transition

Sometimes it's preferable to change keys directly without any connecting material.
Below, a no-transition modulation from C to D occurs. If you are working with guitarists,
whole step modulations from C-D, D-E, F-G, and G-A are most feasible. Half step
modulations are more difficult for them, though an E to F modulation is doable even for
the novice. Keyboardists, however, can perform any sort of modulation.

Example 31.2 God is So Good (last 4 measures, & first 2 measures of first repetition)

C F C G C D Em

God is so good he's so good to me. I praise His Name

Finding the V Chord & its Alternatives

Principle. The easiest way to modulate is to find the V chord of the new key.

For example, to modulate to the key of C, we will need the "pivot" chord based on the 5th
degree of the C scale—G major chord—to effect the modulation. Similarly, to modulate
to the key of G, the pivot chord D would propel us into the new key.

Example 31.3 Locating the V Chord (Pivot) in C major and G major

Key of C Key of G

1 2 3 4 5 1 2 3 4 5

C
F G

Bb D

Eb A

Ab E

Db B

F#
Gb
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The V chord can be determined from the clock-wise circle of fifths (IÕ V), or more
importantly for us, the counter clock-wise circle of fifths (VÕ I).

Fill-in-the-Blanks

1. In modulating from Bb to B, the V of B = ______

2. In modulating from Eb to F, the V of F = ______
3. In modulating from Db to Bb, the V of Bb = ______
4. In modulating from Bb to C, the V of C = _______
5. in modulating from G to A, the V of A = _______
If you lead a band, remember—"V of the new key."

Since the V chord is so important, we will want to "color" it in different ways depending
on the situation. See below some possibilities involving triad and sus chord shapes.

Example 31.4 V Chord Alternatives with the Root in the Soprano

G Gsus G7 G 7sus G9 G9sus G 13 G 13sus

Example 31.5 V Chord Alternatives with the Fifth and Third in the Soprano

G G sus G7 G9sus G G 7 G9 G 13

Eventually, we will want to be able to find each alternative quickly and effortlessly in all
the keys. We'll begin with simple versions of the V chord first.

Half Step Modulations

Idea. One way to modulate up a half step is to hang onto the note in the soprano (the C).
See the common tone retained in the Ab7 chord (the third) below. The C in the soprano
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becomes the leading tone (seventh degree) of the key of Db. The soprano movement then
is C, C, Db.

The Ab7 chord (V7 of Db) propels our ears into the new key. After hearing the V7
chord, a I chord in Db sounds logical and inevitable.

Example 31.6 Modulation from C to Db

C A 7 D

This common tone spacing is

idiomatic for keyboardists.
Modulations up a half or whole step
can give a song a "lift" and stimulate
congregational response.
I Db:V7 I

Example 31.7 Modulation from C to Db (God is so Good)

C G G 9sus C A 7 D

God is so good, He's so good to me. God is so

I Db:V7 I

Write in three possible sus chords for the desired modulation. You need the sus chord
of the new key and the root must be in the soprano. Label with pop symbols and roman
numerals, as below. The last phrase of the song is displayed, followed by the new key.
See the demonstration below. Then do the exercises.

Example 31.8 God is So Good (modulation from G to Ab major)

G D D7 G E sus G E sus7 G E sus9 A

1. 2. 3.

He's so good to me me me God is so good

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Example 31.9 Try it! Be Thou My Vision (complete modulate from E to F major)

Thy pres-encemy light Rich -es I

V7 Vsus IV/5

Example 31.10 Try it! Open our Eyies (complete modulate from D to Eb)

we want to see Je - sus Op-en our eyes Lord

V7 Vsus IV/5 I
Example 31.11 Try it! The Joy of the Lord is My Strength

Create contrasting harmonizations for the melody. In at least one variation include a
series of descending fifths. Provide pop symbols above, Nashville Numbers below.
Be prepared to perform your harmonizations in class.

The joy of the Lord is my strength. The

joy of theLord is mystrength. The joy of theLord

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is my strength. The joy of the Lord is my strength.

Example 31.12 Try it! Provide the Needed Modulation.

Include the contrasting harmonies you created above.

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Be prepared to perform the abovein class.

Guitarists. Half step modulations result in difficult keys for guitarists. The easiest half
step modulation is from E to F major. So let's proceed to whole step modulations.

Whole Step Modulation

Put 3rd of V chord in Soprano. If you are modulating up a whole step, the C in the
soprano can rise a half step to C#. The C# is both the third of the A7 chord and the
leading note (scale degree seven) of the new key of D. The soprano movement then is C,
C#, D.

Example 31.13 Modulation C to D

C A7 D

This spacing is idiomatic for

keyboardists. Let's put this
modulation in a musical context.
See below.
I D:V7 I
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Example 31.14 Modulation C to D (God is So Good)

C G G 9sus C A7 D

God is so good, He's so good to me. God is so

I D:A7 I

Example 31.15 Play Through the Octave. Perform it! (for keyboardists)

V7

Assignment. Play the above by memory. Play it again starting in the key of Db. Try
using a V13 in place of the V7. Now play God is So Good, modulating from D to E, F to
G, and G to A.

Another alternative: place the Root of V in the Soprano. When modulating from C to D
major, instead of maintaining a CàC#àD movement in the soprano, we could use the
root of the A7 chord (A). It looks like this.

Example 31.16 God is So Good

C F C G C A D Em

I D:V I ii

Written out, the above looks like this (below) when the root of V7 is in the soprano.
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Example 31.17 Use of a V7

C G G 9sus C A7 D

God is so good, He's so good to me. God is so

I D:A7 I

Example 31.18 A9sus Substitution

C G G 9sus C A 9sus D

I D:V9sus I

Compare V7 versus V9sus. Compare the sound of the V7 chord versus the V9sus
carefully. Play both several times. Do you agree that the V7 sounds bolder, and that it
sticks out of the texture more than the V9sus? The V9sus has a less harsh, warmer,
mellow sound, right? There is a technical reason for this: the sus9 does not contain the
dissonant tri-tone interval (in A7, the interval from C# to G) whereas the V7 does. Also,
because the sus chord lacks the third of the chord (here, A-C#), it has a more ambiguous,
floating quality. In addition, the V9sus seems to adapt and fit into situations less
obtrusively and connects more smoothly than the bolder and more dissonant V7. In most
situations, the V9sus is a better pivot chord for modulations.

Vsus, Vsus7, Vsus9 as Modulation Chord

Write in three possible sus chords for the desired modulation. You need the sus chord
of the new key and the root must be in the soprano. Label with pop symbols and roman
numerals, as below. The last phrase of the song is displayed, followed by the new key.
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Example 31.19 God is so Good (modulate from G to A major)

G D D7 G E sus G E sus7 G E sus9 A

1. 2. 3.

9
He's so good to me me me God is so good
7

V7 I Vsus/A IVsus7/A IVsus9/A I

Continue writing the examples below. Put the Pop symbols above the score and the
Roman numerals and key designation below. The top of the V9sus chord (placed in the
soprano part) should be the root of the chord. Include accidentals as needed.

Example 31.20 Try it! Amazing Grace (modulate from F to G major)

was blind but now I see. 'Twas 'Twas 'Twas Gracethat

Vsus Vsus7 Vsus9 I

Example 31.21 Try it! Amazing Grace (modulate from D to E major

_ _

was blindbut now I see. 'Twas 'Twas 'Twas Grace that

Vsus Vsus7 Vsus9 I

Short V9sus Modulations Between Pieces

It's often desirable for the segue between two songs with fast tempos to be very short so
that the rhythmic momentum can be maintained. In the two examples below, the segue
consists of a single, V9sus chord. The tempos are the same, and so are the meters (4/4
and 6/8 time, respectively).
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Example 31.22 We Bring a Sacrifice of Praise (E) to I will Enter His Gates (D)

A F m G m7 C m7 F m A B

And we of - f e r up to You the s a c - r i - fi - ces of

IV ii7 iii7 vi7 ii IV/5

A 9sus
E D

joy. I will e n - t e r His gates with thanks- giv-ing

D:A9sus I

Example 31.23 He is Exalted (Eb) to Great is the Lord (C)

He is ex - alt - e d , the King is ex - alt - ed on high .

G9sus C

Great is the Lord, He is ho - ly and just

V9sus I
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Below, two consecutive sus chords can kick a song into a higher key, even in mid stream.

Example 31.24 Play it! Amazing Grace (F to G)

C13sus D13sus Gma7

that saved a wretch like me I once was

F:V13sus G:13sus I

Above, in measures three and four, two consecutive sus13 chords are used to effect a
dramatic modulation up a whole step from F to G major.

Example 31.25 Five Alternatives for the Pivot Chord (Modulation from G to A)
(a) (b) (c) (d) E 2Q (e) E 2Q
G E9 G E 13 G E 9sus G E7 G E 13sus E 7

He's so good to me me me me me

I praise his name

Improvise!

1. Play Open Our Eyes, Lord, modulating from D to Eb to E.

2. Play Amazing Grace, modulating from C to D, and G to A.

Four over Five: Simplifying the Sus9

Many musicians in a worship team will not understand the symbol A9sus or IV/5. Is
there a simpler way to express this sound? Yes. In the key of D, for example, the symbol
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G/A is a good substitute for an A9sus or a IV/5. The only note missing is the fifth (E,
below), a non-essential tone. But if you must have E (the fifth), write "G6/A."

Example 31.26 Substitution for A9sus: G/A, G6/A

A 9sus = G A G A G A G6 A
=

IV/5
V9sus IV/5 IV/5 IV/5

Four over Five. The symbol IV/5, our invention, is extremely useful for teaching and/or
giving directions to performers. Why? In contrast to Pop symbols— but more like
Roman Numerals or Nashville Numbers—IV/5 is applicable to any key and therefore
allows us to conceptualize the chord. It allows us talk about it "generically" as a
concept. That's powerful! When we say "play four over five," not only are the actual
notes clearly delineated for any key, but the chord function is simultaneously expressed.
This is important, because it helps improvisers "think in music" and apply concepts to
various situations and keys.

Here, then, is the meaning of IV/5. The Roman numeral IV indicates a chord on the
fourth degree of the scale. The Arabic number 5 indicates a single bass note on the fifth
degree of the scale. Let's do some conversion exercises. Below, write the chord and
provide the pop symbol.

Example 31.27 Assignment. Write the V9sus Chord and Convert it to a IV/5.

G9sus = ___? E 9sus = __ F 9sus = __ F 9sus = ___

V9sus IV/5 V9sus IV/5 V9sus IV/5 V9sus IV/5

The four over five chord can be substituted for the V7 or Vsus.
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Example 31.28 God is So Good (Modulation Up a Major Second via IV/5)

Dm C G G7 C G A D A

ii I6/4 V7 I D:IV/5 I V

The IV/5 chord can be used in combination with a V7 chord, as below.

Example 31.29 God is So Good (Modulation Up a Major Second via IV/5 and V7)

Dm C G G7 C G A A D A

ii I6/4 V7 I D:IV/5 V7 I V

Similarly, modulation up a minor second works well by means of the IV/5 chord.

Example 31.30 God is So Good (Modulation Up a Minor Second via IV/5)

F m E B B7 E B C F C

ii I6/4 V7 I F:IV/5 I V
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Example 31.31 Exercise: Amazing Grace (Create Modulation using IV/5 chord)

_ _ _

was blind but now I see. ' Twas grace that

__ __ __

A Major Problem! In Praise and Worship music today, sometimes we see a piece set in a
very low key that is then sung an octave higher as a way of creating dynamic intensity.
For example, Your Love Never Fails has been recorded in a low key (B major) where the
lowest not is G#. Then it is sung an octave higher, where there are many high F#'s
(extremely high notes to sing). This may be fine for a recording artist. But in a
congregational setting, neither the low key (too low) nor the high notes when sung an
octave higher (too high) are suited for congregational singing (see excerpt immediately
below).

Example 31.32 Excerpt of Your Love Never Fails (Low Key, then Octave Higher)

B E !!! B E

The problem of "too many high notes" could be solved by creating modulations (see
below). But for now, see the melody transposed to C major (still a low key, but not quite
as low), followed by three repetitions (immediately below).

Assignment. Create three harmonic variations of the line below. At least one variation
should consist of descending fifths. Include the Pop Symbols above the staff and
Nashville Numbers below the staff. Make four copies. Be prepared to play your versions
in class, one after another without interruption in a continual flow.

Example 31.33 Create Harmonic Variations of the First Line (Your Love Never Fails)

C F C G

Yourlove nev-er fails, it nev-er gives up, it nev-er runsout on me, Your love
1 4 1 5
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A.

B.

C.

In contemporary praise and worship, modulations do not occur frequently — perhaps

because leaders do not know how to create them. Modulations can provide a dynamic
"lift' to songs. Instead of jumping an octave we could modulate up a major second (C-D,
D-E) or a minor second (E-F), provide a dynamic lift and yet and yet keep the piece
within the congregation's singing range.

Example 31.34 Using IV/5, Modulate from D to E, E to F.

Create two modulations: D to E, and E to F (the first one, C to D, is give to you). Use a
IV/5 chord to propel the melody into the new key. Indicate the Pop Symbols above the
staff and Nashville Numbers below the staff. Use you harmonic variations (from
previous exercise) to vary the harmonies. Can you make it sound good? Be prepared to
perform your solution in class.

C F C G A A

Yourlove nev-er fails, it nev-er gives up, it nev-erruns out on me, Yourlove
1 4 1 D:4/5 5
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In an actual worship service, you would not to perform the modulations consecutively (as
above) without a break. In fact, you may want only one modulation (e.g., D-E).
However, the melody can now be placed in a good singing range for the people.

Example 31.35 Alternative Modulations (His Love Never Fails)

Let's assume a different problem. Let's say that you wanted to modulate from D to E, or
D to F, or D to G. How could that be accomplished? Our starting point here is the V
chord of D (an A chord). See below.

A A B E A B C F A C DD C G B

E:IV/5 I F:IV/5 I G:IV/5 I6

Example 31.36 Creating Modulations in Glory to God Forever

The IV/5 chord can be used to create modulations of any size.

Create two modulations from E to G, and G to A. Indicate the Pop Symbols above the
staff and Nashville Numbers below the staff. Be prepared to perform you solution in
class.

E B C m A E B C D D

Glo-ryto God, Glo-ryto God, Glo-ryto God for- ev-er

1 5 6- 4 1 5
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Glory to God Forever has been recorded in B major, a very high key for congregational
singing. The vocal range for the entire song is a ninth: D# (lowest note) to E (highest
note) in B major.

In the above example, the key of E may be too low (you judge).
In the key of G, the lowest not is B, the highest note is C.
In the key of A, the lowest note is C#, the highest note is D.
Therefore, a modulation from G to A major might serve the congregation best.

Use a modulation to highlight the text. A modulation can help communicate the
meaning of the text. For example, the words of the last stanza of In Christ Alone, "Then
bursting forth in glorious day, up from the grave He arose," calls for a surge of musical
intensity. A modulation up a half or whole step can provide that kind of "lift." And in
fact, that is precisely what the Getty's (the authors) do when performing their hymn on
their recording. They modulate from the key of C to Db, a somewhat low key for
congregational singing. Instead, let's create a modulation from D to E.

Example 31.37 Create a Modulation in the Middle of a Stanza (In Christ Alone)

.. . . ..
D Em D Bm Em A

Then in the ground Hisbody lay, light of the worldbydark - ness

slain. Thenburst-ing forthinglo-rious day, up from the grave herosea - gain.

(Above) Provide Pop Symbols above the staff, and Nashville Numbers below the staff.
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Bass Walks Down to the V9sus Chord

Modulations can sound very static if there is no movement. Let's add a bit of movement
in the bass before playing the V9sus.

Example 31.38 Bass Passing Note in God is So Good

Dm C G G7 C A 9sus D Em

Pno.

D:V9sus I
The modulation to D major could be delayed holding the C chord one full measure and
the A chord one full measure.

Example 31.39 Slightly Longer Modulation (Same idea)

Dm C G G7 C A 9sus D B m7 Em

D:V9sus I

Complete the example below using the modulation pattern above. Label.

Example 31.40 Try it! O Come All Ye Faithful (F to G modulation)

O come let us a - dore him Christ the

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Lord Sing, choirs of

Exmple 31.41 Three Rhythmic Variants to Walking Down

C A sus9
C A sus9 C A sus9

Example 31.42 Syncopated Modulation (He's Got the Whole World in His Hands)

D m11 G sus9 C A sus9

Vocals
He'sgotthe whole word in his hands. He'sgot the

I D:V
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Dmaj7 E m9 F m7 B 7( 9)

whole world in his hands, He'sgot the

Bass Walks Up to the New Key: Three Assignments

If you are creating the modulation for your worship team, your leader will want to know
exactly when to come in after your modulation. One good way to obtain a secure feeling
is to walk the bass up from the V chord to the I chord of the new key. Notice the 10ths
between the bass and alto: B-D, C#-E, D-F#. If necessary, retard the tempo a little during
the walk-up, then resume the tempo.

Example 31.43 Seek Ye First (walking up to the new key of D)

G9sus C A 9sus B m7 A C D

Al - le lu, A l - l e - lu - ia. (tenths) Ask and it

D:V9sus vi7 V6 I
Try it! Above, walk up the bass while modulating from D to E.
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Example 31.44 Try it! O Come All Ye Faithful (walking up to key of G)

O come let us a - dore him Christ the

Sing, choir of an - gels

Notice, we pitched it in F—lower than the published key (G)—then modulated up to G.

Come Thou Almighty King is in 3/4 time instead of 4/4. Assume it is used as the first
hymn in a traditional, 8am Sunday morning service. Since the congregation's voice
would need to warm up at that hour, the published key of G major (with several high D's
in the melody) would be too high. Solution: pitch it a third lower in the key of E major.
The high D's become more manageable B's. A better congregational response can result.

Example 31.45 Try it! Come Thou Almighty King (walk up to F)

Come and reign ov - er us An-cient of Days

Come Ho - ly
©2014 Barry Liesch ch31 Establishing the New Key—Modulation I 23

Below, write in the walk-up bass and its associated harmony (as in the above example)
for the hymn Majesty. Include a pop symbol and a Roman numeral analysis.

Example 31.46 Try it! Majesty (walking up to the new key of A)

Je -sus who died, now glo - r i - fied, King of all

Kings Maj - es - ty

We can modulate to any key (not just those up a half or whole step) using the tried-and-
true formula of V9sus-I of the new key. Modulate to a higher or lower key—it makes no
difference. The result in some cases may be somewhat abrupt, but it will always work.

Example 31.47 God is so Good (modulating from E to Db)

E A 9sus D

He's so good to me I praise His Name

Db:Ab9sus I

Timing the Entrance: Downbeats, Upbeats

Downbeat Entrances. Some students typically have difficulty with the timing of the
congregation's entrance in the new key. Usually the entrance note will need to come on a
©2014 Barry Liesch ch31 Establishing the New Key—Modulation I 24

downbeat (beat one). However, students often play the I chord on some other beat! This
is confusing; it makes the entrance point unclear metrically.

Below, the congregation should enter on beat one of measure three—not on beat three of
measure two, or beat two of measure three! Count out the beats as you practice your
modulations. Is your tempo steady and secure?

Example 31.48 One Measure Modulation in 3/4 Time

C:I Db:V7 I

Below, the walking bass part makes the entrance on measure three more secure for the
congregation. The bass walks up to the I chord (Ab, Bb, C) in measure two.

Example 31.49 Bass Walks Up on Measure Two

C:I Db:V7 VI7 V6 I

Generally, in 3/4 time the V chord (or the V chord and its walking notes) will need to be
at least one measure long.

Example 31.50 Two Beat and Four Beat Modulations in 4/4 Time

The displays show typical ways to handle short modulations in 4/4 time rhythmically.
The V chord in line one is two beats long and occurs on beat three, a strong beat. The V
chord in line two is four beats long and occurs on beat one. In line three the bass walks
up to the I chord.

C:I Db:V7 I

C:I Db:V7 I
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C:I Db:V7 VI7 V6 I

Now let's demonstrate a two and four beat modulation in 4/4 time in some actual songs.
Notice (below) a vi chord precedes the V chord in the V area—an enhancing possibility.

Example 31.51 Very Abrupt, Two Beat Modulation for Holy Holy Holy (4/4 time)

God in three per - sons bles - sed Trin - i -

ty Ho - ly ho - ly ho - ly

Db:vi7 V7 I

The modulation seems too abrupt! The one below doubles the transition chord values.

Example 31.52 Less Hurried, Four Beat Modulation for Holy Holy Holy (4/4 time)

God in three per - s o n s bles-sed Trin - i - ty

©2014 Barry Liesch ch31 Establishing the New Key—Modulation I 26

Ho - ly ho - ly ho - ly

Db:VI7 Vsus9 I

Improvise! Play the two examples above, modulating from D to E.

Example 31.53 Improvise! What a Mighty God We Serve (Modulate C to D to E)

C F C E G D C F G

What a might - ty God we serve

C Dm Dm F G F G C

What a might - ty God we serve An - g e l s bow be -

fore Him, Heaven and earth a - dore Him,

C G G7 C Modulate!

What a might - ty God we serve.

Upbeat Entrances. Some songs begin on an upbeat (beat 3 of 3/4 time, or beat 4 of
4/4time) not the downbeat (beat 1). Blessed Assurance (below) begins on beat 7 of 9/8
time.
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Example 31.54 C to D Modulation Involving an Upbeat (Blessed Assurance)

D m Dm F F G C A 9sus A7 D D F

Vocals

Prais-ing my Sav - ior all theday long. Per-fectsub - mis - s i o n

D:V9sus V13 I
Upbeat Downbeat

Occasionally, harmonic adjustments may have to be made on the V chord. Above, the
change of harmony from V9sus to V13 is beneficial. Notice, the upbeat has a V13 chord,
and the downbeat a I chord (in contrast to the hymnbook version which has a I chord on
the upbeat). The revised I chord placement gives a firmer sense of arrival in the new key.

Make sure the V chord propelling the modulation is long enough to lead securely into the
new key. In some cases it may be better to hold the modulatory V chord longer.
Again we stress, do not violate the basic metrical pulse. Do not inadvertently shift the
natural position of the downbeat to some other beat.

Practicing Modulations Within Pieces

Example 31.55

Practice modulating within pieces (any key to any key). Choose a key to modulate to.
Include (1) the new key signature, (2) a double measure at the key change, (3) 2-3
melody notes in the new key, (4) the pick up to the melody in the new key (if needed), (5)
and a Roman Numeral analysis.
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A. God is So Good
Em D A A7 D

He's so good to me.

ii I6/4 V7 I

B. Amazing Grace

Dm F C C7 F

Was blind but now I see.

vi I6/4 V7 I

C. Be Thou My Vision

C D G

Thy pres-ence my light.

IV/5 I

D. Jesus, Name Above All Names

IV/5 I
Fm B7

Bless-ed Re - deem - er, Liv - ing

ii V7
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Word.

E. See Ye First

F C G7 C

Al - l e - lu, al -le - lu - ia.

IV I V7 I

Caution!
Modulations within pieces can be overdone and become impotent though overuse. Use
modulations sparingly—only when they serve a valid purpose. Do you need some
contrast, some new energy? Do the words call for it? Maybe not! On the other hand,
three modulations up a half step for the worship chorus I Exalt Thee could be effective as
each modulation provides a "lift" for the word "exalt."

Remember, flat keys are difficult for guitarists. Have the keyboardist play the flat-key
modulations? The following modulations are relatively safe for guitarists: up a half step
from E to F; up a whole step from C to D, D to E, F to G, G to A, D minor to E minor.

Finally, when putting together a seamless set (medley), you will want to nest together
songs with a similar theme, and with tempos (generally) that are similar. Don't yank your
people around  from fast to slow to fast, and from soft to loud to soft  in every piece.
Group several slow songs together, and fast songs together. Ensure that the lyrics lead
logically and/or emotionally to one another. This takes much thought and crafting.

Rules of Action
1. Don't cut off the last note of the song too quickly before modulating.
2. Use common tones and maintain smooth voice leading.
3. Build in contrary and oblique motion between the bass and soprano.
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4. Be sure to maintain the pulse and the meter (e.g., 3/4 time should have 3 beats).
5. Ensure that the congregational entrance point for singing is obvious and clear.

Next Chapter
We have looked at elementary ways to perform modulations. But our approach so far has
been merely functional. What if we want to create (1) modulations between pieces, (2) to
create richer, more expressive modulations, (3) extended segues that lead to a musical
climax, (4) or a time for personal reflection during the transition itself? How could we do
that? We'll look at ways to accomplish that in the next chapter.

Have you heard of the three stages of learning?

Conscious incompetence
Conscious competence
Unconscious competence