Guitarist notebook: modulation matrix (triads in all major keys)

Matrix of triads in all major keys*

(in cycle of fourths and fifths)

Context: modulation to close and distant keys.

Exercise: Use matrix to modulate to close and distant-related keys.

(ex. from C to G#m)

notes:

Same target chord exists one adjacent key away to either side (fourth or fifth).

(ex. C chord exists in the keys of F and G).

Each major and minor chord exists in 3 keys only.

Major chords function as I- IV-V. Minor chords function as ii-vi-iii. ONLY.

There are other ways to modulate outside of this matrix, but matrix shows important ways to do this.

In addition to matrix scheme, minor chords can all become tonic (i) chords. Not just ii-vi-iii. This is a huge topic for another day.

Diminished chord is unique to a key and functions as a leading tone dominant chord to the tonic (V-I).

In columns diminished chords serve as a transition between major and minor forms.

(ex. Eb – E dim – Em)

*  For advanced musicians, this matrix shows many relationships beyond those noted above. A personal analysis will yield many useful insights into different kinds of tonal relationships. As one example, it is a way to look at the circle of fourths and fifths that includes all chords in the keys, not just keys. There are many others.

 

John Butler Live Rig

Check out John Butler's live rig. There is a lot to LEARN about an acoustic/electric set-up for that big tone which is always quasi-mysterious, especially on the acoustic side of things. John, however, goes through the black magic to a great sound. The GP interviewer (Robbie Ginett?) is an idiot and starts out with an insipid generic question which he then qualifies with a moronic follow-up question. Too much hair to distract him, I guess. Butler takes Robbie, and us, to a good place though. Compassionate dude.