Since the lyrics both express the same sentiment, and the melodies are not far off, I’m trying to combine “Here’s That Rainy Day” with “It Never Entered My Mind” as a medley or a mash up. I’d like to include musical quotations from each song in the other. I’d like to keep each song in its original key (G for Rainy) and (F for It Never.) I can transpose the quotations from one key to the other, but I’m having a hard time making a smooth transition between the two songs. What’s the best way to do this?
Hi @wendy,
Here’s a little video showing a modulation from a tune ending in G major, to a tune starting in F Major.
I use the tunes “Shadow Of Your Smile” modulating to “Nearness Of You”.
The modulation is Gmaj7 --> E7alt --> A-7 --> D7 --> G-7 --> C7 --> Fmaj7
Hope that helps and let me know if you have any questions.
Cheers!
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Hi @Hayden ,
great…
What is the harmonical function of E7alt - in other words: why do you play E7alt at this time ?
Thanks and bests
Olli
Great question here @Olli
The E7 chord is the VI7 chord in G Major and this creates a 1625 progression. The 1625 progression is very useful for introductions, endings, and turnarounds.
Notice that instead of going back to Gmaj7 after the 1625 (Gmaj7 → E7alt → A-7 → D7 ) - I use the D7 to go to G-7 which then starts a 251 into F major which is the desired modulation.
The “alt” just indicates that I am playing the chord with alterations. Diatonically-speaking, the 6 chord in the key of G Major is E-7, however it’s very common to change the quality of the 6 chord to dominant which then creates a ‘stronger pull’ into the ii-7 chord (in this case A-7).
Lessons on the 1625 Progression
You can learn more in the following lessons where we explore the 1625 and the 36251 progressions:
I am creating the next module in the Functional Harmony Course on the key of G Major which will contain many examples of the exact progression we are discussing here. I’ve been a little busy with editing our new blues courses but I will get around to this asap 
Check out the above lessons and this progression should make more sense.
As an exercise, try transposing the 1625 progression to other keys and then experiment with these voicings for introductions, endings and turnarounds on the tunes that you are working on.
Another Nice Example To Study:
Check out chapters 4 and 5 in the following seminar where explore the 251, 1625, and 36251 progressions in the key of Db Major. We then analyse a very beautiful solo piano introduction by Beegie Adair for the tune “Body & Soul” which contains the exact progression:
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Excellent. Would love a class or two on creative runs for end of songs…including fingering and timing. Thinking use of flat ninths amd shar elevenths and poly chord runs. Not simple 6ths or dominant seventh runs.
Great idea @michael16 - there have been a number of requests for creative runs and fills and so I have added this to the upcoming lesson schedule.
In the interim, one of the easiest ways to create a run that incorporates the altered tones you mention is to arpeggiate the right hand triad in an upper structure triad voicing.
Check out chapter 6 - “arpeggiate USTs” - in the following lesson:
In that chapter we drill the 13#11 and 13b9 USTs around all 12 keys including runs up the keyboard.
Next understand that you can do this on any dominant chord. You might like to check out some of the chord progressions in this lesson for more inspiration:
We can apply those UST runs to any of the dominant chords in 1625 progressions and 36251 progressions - both of which are well suited to creating intros and outros.
I hope that helps and any further questions let me know.
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Great. Fingering amd practical ending runs other than a sixth or seventh! The upper structure piece is very helpful. Mike
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