Systematic Method of Common Chord Modulation

Derek Remes
Major triads in Major Scale:
q = 100 D G A D
          
    
  D: I IV D: V

         
Piano
    
     
 
6 Major triads in Harmonic Minor Scale:
     
   
  
 
Dm: V Dm: VI
          
Pno.
       
   
2
11 major triads in Ascending Melodic Minor Scale: 10
    
 
  
     
 
Dmi: IV Dmi: V
solidifies minor key
           

Pno.
          

major triads in Descending Melodic Minor Scale
18 B¨ F A
      
    

Dm: VII Dm: VI
          
3
Pno.
       
  

Minor triads in Major Scale:

24 F A E‹ F©‹
       
      
Dm: III
 D: ii D: iii
          

Pno.
         
  

Minor Triads in Harmonic Minor scale:


30
  B‹
   
D‹ G‹
 
D‹

G‹
  
 

D: vi Dm: i Dm: iv
            
    
Pno.
   
   
 Minor triads in Ascending Melodic Minor Scale 3
36 D‹ E‹ D‹ E‹
      
  
  
Dm: i Dm: ii
         
Pno.
        

minor triads in descending Melodic minor scale
41 D‹ D‹ A‹ G‹ D‹
   
         
Dm: i
          
Pno.
     
    

46 A‹ G‹ D‹

G‹ A‹
 
G‹
  
     
   
Dm: v Dm: iv
  
         
Pno.
          
 

diminished triads (in Root position) in Major and Minor Scales


52
C©º7
 
Eº7
        
       
 Dm: ii  
 
D: vii Dm: vi
          

Pno.
     
      
4 diminished triads (in 1st inversion) in Major and Minor scales
58 C©º7/E Eº7/G Bº7/D C©º7/E
 
      
   
  

D: vii  Dm: ii  D: vi 

          

Pno.
          

6 6
 H
Part III: Last Chord's Root Changes (modulation):
6Initial
6 is Constant
Triad
Augmented Triad in Harmonic Minor and Ascending Melodic Minor Scales (original to Nadia's method)

64 F& D G A D
     
      


Dm: III+ D: I Major Triads in Major Key

         
Pno.
       
   
A
D E A D E‹ C D G
   
69
  
      

 A: IV  Gm: V
       
 
Pno.
        
 
major triads in harmonic minor scale
D E¨ C‹ D G‹ D B‹ C© F©‹
      
74

        

 
F#m: VI
 
        
Pno.
        
   
 major triads in Ascending Melodic Minor Scale:
5
D B‹ E A‹ D‹/A A‹ D C A‹ D G‹ C‹/G
79
  
 
  
   
     

Am: IV Gm: V
             
Pno.
  
       


G‹ B
 
86
 
 
    

  


 
         
Pno.
   
       
D: V
F#mi: III

91

          


   
     
Pno.
  
 
    
F#mi: i
C#mi: iv C#mi: iv
D: iii