Ben Higgins11th March 2012Cool lesson Sinisa.. I've never heard of an abrupt modulation so I'll check it out, thanks !
JTaylor11th March 2012This is great! Thank you Sinisa!
Michael AC11th March 2012Very nice and clean. You are so smooth in your playing!
Cosmin Lupu11th March 2012Hehe
awesome work Sinisa - guess this one's good for me too 
Sinisa Cekic11th March 2012Thanks guys
!
Amitai Kedmi11th March 2012Fantastic! Thanks Sinisa!
thefireball12th March 2012Lovely! Also dig the tone!!
zoom22nd March 2012Interesting subject Sinisa. How do you approach changing keys? Is it theory driven or trial and error or bit of both?
- Sinisa Cekic23rd March 2012Interesting subject Sinisa. How do you approach changing keys? Is it theory driven or trial and error or bit of both?
My approach depends on what kind of solo section (theme) I want to make. The element of potential modulation (changing of harmonic key) brings new ideas, phrases, but however, returning to the original/primary harmonic key must be followed with some theory rules !
Hope this helps
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Determining The Key...
how to find a key, key, determining the key, pentatonic scale, modes, finding the rootby Ivan Milenkovic - Difficulty2
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Interval Series -...
Intervals, Octave, Wes Montgomery, George Benson, Interval Series, E natural minor, E harmonic minor, Arpeggios, Chord tones, Tensions, Question answer phrasing, Straigh vs syncopated, by Pedja Simovic
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Hi GMCers,
This lesson is about the key harmonic changes in a songs. There are lots of options available when deciding where to change a key in a song. Most of the time, it’s during the second half of the song that you’ll find works the best. Another good idea is to consider doing the verse in one key and the chorus in another. Doing so, however, presents you with a problem to solve: how do you move up to a new key for the chorus and then move back to the original key for the verse?
There are several methods of changing key: common chord, common tone, etc. In this case, I’ve used what’s best described as an abrupt modulation by using the Eb chord as a bVII of the original key of F major. That Eb gets reinterpreted as a bVI in the new chorus key of G major. Using the suspension (Dsus4) helps to smooth the transition to the new key.
To return to F major I used a Gm chord with a Bb in the bass. The Bb gets the bass back into F major, and following it with a C chord gives me the dominant chord of F major.
Equipment: PRS singlecut SE model, Sonar8 DAW, Amplitube 3 guitar plugin
Tempo : 90 bpm
Signature : 4/4
Chord progression: FB,Gm7,C,Am7,Dm,Eflat ,Dsus4,D
Techniques: Alternate picking
F major :
Asharp :