downward in half-steps would need to be described as very dramatic.
On the surface, the two types of symmetrical modulation seem quite similar, both having key centers that are drifting downward in small intervals, and both generally not continuing beyo nd about three successive keys.
But the similarities end there.
The two sound very differently, we don't have the same chord root sounded between keys with the first functioning as I major and the next as II-7 (as we did in downstep modulation), hence removing the positive- negative syndrome, and more importantly, the adjacent key centers of the sequence are not nearly as close as they were in downstep modulation.
For example, if the first two keys are a whole-step apart (i.e., C: to Bb:), as they are in a downstep sequence, they are only two keys apart (check their locations on the cycle of fifths), whereas if the first two keys are a half-step apart (as in C: to B:), they are at least five key signatures apart (seven if you count in the opposite directio n in the cycle)! Figure 2-C C G F D Bb A Eb E Ab B Db F#/Gb
This means that modulations downward in half-steps supply more key contrast, they will constitute more of a surprise to the ears (also harder to aurally cognize at first), and the effect will be even more dramatic.
When hearing modulations downward in half-steps, words like "thrilling" and "inspiring" come to mind.
In the Preface, the words "glue" and "hooks" were used to describe logical substance, like the II-V-I cell, which "glues" together the chords and keys of a progression, and the more stunning events, which represent the "hooks."
Both of the symmetrical modulations presented in this chapter are "hooks."
Consciously or unconsciously, songwriters know this, hence the tune lists might seem surprisingly long to the reader, considering the nature of the topic.
Symmetry doesn't usually equate to "thrilling" or "inspiring." Figure 2-D
The following tunes use modulations downward in half-steps: ?? Airegin (m.12)
?? Bess, O Where Is My Bess (m.18) ?? Five Brothers (B2)
?? Masquerade (B9) ?? Angel Eyes (B5)
?? Everything Happens To Me (B5) ?? Peace (mm.3 & 5)
?? The Summer Knows (m.14) ?? Clockwise (m.2)
?? Skylark (B7) ?? Soul Eyes (m.10)
THE SUMMER KNOWS repeats the II-V-I's in each key, before going on to the next key.
CLOCKWISE omits the IIm7's, resulting in a series of V7's to I's (but still modulating down in half-steps).
It's important to remember that symmetrical harmonic sequences very often incorporate, in the given melody to the tune, symmetrical melodic sequences as well.
Hence our efforts to spontaneously cognize the chord progression by ear (and memorize it also) are aided by tell-tale repetitions in the melody.
This would be an appropriate time to review and reinforce the goal of this study, and to consider our presumed progress.
Our goal is to learn to cognize chord progressions by ear.
If the reader was successful assimilating the materials of Chapter 1, then he/she can now aurally recognize the II-V-I progression cell which generally occupies 2-4 measures at each occurence, and there are usually several such incidents (in the same key) within the tune's progression.
If various "extensions" covered in Chapter 1 were also assimilated, the extended cell might be even longer perhaps 6-8 measures for each occurrence.
The topic of Chapter 2 was symmetrical modulations, which generally consume anywhere from 5 to 14 measure each occurrence!
With the average length of a tune being 32 measures, it is easy to see that reoccurrences of these cells and modulation sequences within same 8- measure phrase or within
repeated phrases/sections (as would occur in an AABA or ABAB form, for example), might account for most, if not all, of total number of measures in the tune!
If you can aurally recognize the II-V-I and its extensions (in major and minor), and that same cell in downstep modulations then you are prepared to cognize all of the chords in HOW HIGH THE MOON, SOLAR, PENT-UP HOUSE, and IT'S YOU OR NO ONE, plus many, many others!
You will also be able to hear 75-95% of the progressions to TUNE-UP, LAURA, AUTUMN LEAVES, PEACE, EVERYTHING HAPPENS TO ME, and GONE WITH THE WIND to mention just a few.
Also consider how easy it would be to memorize those progressions, because you are no longer trying to memorize individual chords.
Instead, you are remembering 3-6 chord progression cells in a single thought, plus subsequent modulation sequences of those cells!
The remaining chapters of this book will address other progression traits and tendencies that will, hopefully, fill any and all gaps that might remain.
SUGGESTIONS FOR PRACTICE
?? Go to the piano (regardless of your chosen instrument) and play the excerpts shown in this chapter slowly being sure that you're absorbing the sounds of both types of modulations.1
?? (also at the piano) Play through all 12 keys of both types of modulations. The one that modulates down in half-steps can be continuous, through the 12 keys, but downstep modulation will need two starting points, each covering six keys. ?? Improvise with the downstep progression of II-V-I's on Jamey Aebersold's A
New Approach To Jazz Improvisation, Vol.3.
?? Play as many of the tunes on the lists provided for this chapter as you know (many are available on play-alongs from Aebersold's series, presently numbering about 77 volumes.
?? Learn as many as y ou can of the ones that you don't yet know.
1
If the reader needs help with establishing a simple, but effective way to voice II-V-I progressions, refer to Jazz Keyboard For Pianists And Non-Pianists (Coker, Columbia Pictures Publications, 1983).