EXTEMPORE PLAYING - online tutorial

40 Lessons in how to correctly play improvisations.

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54                            Extempore Playing
Accent and rhythm have much influence upon modula­tion. A chord lengthened and emphasized always holds the attention, and suggests the acceptance of the key in which it has a prominent position. So much is this the case, that it may be said that
A single note sounded with emphasis implies its own scale and its own key; and
A single triad emphasized implies a key.
Attention should now be devoted to our section 3— modulation to keys with some connection. If the tonic chord is taken and any note of it selected, that note may form the root, third or fifth of a new key, which may be taken directly, without any modulating machinery. This movement may be described as a 'transition' rather than a modulation. To take an instance, the chord of C con­tains the notes C, E, G. If C is retained, it may be used to form part of the chords of F, f minor, A flat, a minor or c minor; E may form part of the chords of E, e minor, A, a minor; G may form part of G, g minor, E flat, e minor or g minor. To any of these a transition may be made, the one note in common being accepted as the connecting link; e.g.,
Any of these is possible without intervening chords; but they are usually found at the end of a period, phrase or section.
And here it should be mentioned that abrupt changes to unexpected keys are found at repetitions of figures, sequences, and after cadences. These, however, are very difficult to deal with, and should be left for the student's paper work.
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