| Position | Major Key | Relative Minor | # of Accidentals |
|---|---|---|---|
| 12 o'clock | C | Am | 0 |
| 1 o'clock | G | Em | 1# |
| 2 o'clock | D | Bm | 2# |
| 3 o'clock | A | F#m | 3# |
| 4 o'clock | E | C#m | 4# |
| 5 o'clock | B | G#m | 5# |
| Modulation Type | Method | Example |
|---|---|---|
| Close Relationship | Use dominant chord of new key | C → G: use D7 to modulate to G |
| Common Chord | Use chord shared between keys | C → Em: use Em as vi in C and i in Em |
| Pivot Chord | Reinterpret function of shared chord | C → F: use Am as vi in C and iii in F |
| Technique | Description | Application |
|---|---|---|
| Chromatic Modulation | Use chromatic passing chords | C → C# through G#7 |
| Enharmonic Modulation | Reinterpret chord spelling | G7 = German 6th in F# |
| Common Tone | Pivot on shared note | C (G note) → Eb (G note) |
| Direct Modulation | Sudden key change | Popular in pop music |
| Application | Usage |
|---|---|
| Songwriting | Choose related keys for verse/chorus/bridge |
| Harmonization | Create circle progression (ii-V-I patterns) |
| Practice | Practice scales/arpeggios in circle order |
| Analysis | Understand harmonic movement in compositions |