You want smooth it will be as smooth as a gravy sandwich. Modulation from any key to the one a fifth lower (or a fourth higher) almost gives the impression that the entire previous music was just preparation for the new key.

And what will happen is Bb, the resolution of the F7 chord. Use these five shapes on different frets to. Notes are displayed in the diagram with blue color with the root notes indicated by. Remember that there are five moveable shapes you can use to play major chords across the neck. F7 won't seem like the end any more (no one ends a piece on a dominant seventh chord), so the listener will now expect something else to happen. To play a B-flat major chord, use these shapes: moveable A shape 1st fret. A particularly strong change would be to get to the tonic at the end of the F major part - that will happen anyway - and add a seventh to it, producing F7. Check out this simple chart below: The chart shows us the simple difference between the B Flat Major and B Flat Minor chord. The middle note is really important as it decides whether the chord is Minor or Major.

F is of course the tonic chord in F major, but it's also the dominant chord in the key of Bb, so it is common to both keys. The magic number Every triad starts with the root note and ends with a perfect fifth five notes up from the root. Question: When joining two songs together, one in the key of F and the other in Bb what connecting chord(s) should you use for a smooth progression ? - T.Īnswer: When modulating to a new key there are tried-and-true techniques, like 'common-chord' modulation, in which you move to a chord that is known to both keys and its function just changes as the new key takes over.į and Bb would be particularly good candidates for modulation, being a fifth apart.

Modulating with a common chord Modulating with a common chord

Keys in major chord of b flat