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Posts: 19
Reply with quote  #1 
Hi guys and gals, I haven’t been here in quite some time, life occasionally gets in the way but I am back to trying to learn from some of Teds material. I’m looking for some very simple key modulation examples mostly in regards to the baroque improv vids. And in particular I would like to ask if anyone can shed some light on something Ted mentions in the baroque vids. He mentions modulation by transmutation of 1 note then goes on to say anytime you flat the 2 in a minor key, you are modulating to the 4. Can anyone comment on any of this?


Posts: 1,769
Reply with quote  #2 
Hi Brian,
For starters go to the LESSONS / Baroque section and find the pages there on "modulation."  It's a 5-part series that may answer some of your questions.

Also see the modulation lesson pages in the "Harmony & Theory" section of the LESSONS.

Regarding the videos about Baroque improvisation, you might want to check with Nick Stasinos. there?


Posts: 19
Reply with quote  #3 
I understand the basic theory.. mostly using a secondary dominant to create a cadence in a new key. What I’m missing is nicely setup examples using good voice leading setup for guitar

Posts: 19
Reply with quote  #4 
And the 1 note thing...

Posts: 333
Reply with quote  #5 
In the Baroque period, modulation tended to be to near keys, that is neighboring keys on the circle of fifths, or the relative major or minor.  So if you're in the key of C major and change one note of the scale, say from F to F#, you are modulating to the V of C major = G major.

Similarly, if you are in minor, take A minor for example, and you lower the second note of the scale ("the 2") from B to Bb, you can be modulating into the key of D minor (the iv of A minor).

The thing is to be clear if we are talking about scale degrees, which are described by 1, 2 , 3...
Or chord tones described by root, 3rd, 5th, 7th...
Or chords built on scale degrees: I, ii, iii, IV. V...
Or key areas indicated by where the root of the new key falls from the main key area:  I, ii, iii, IV.

All of the above are numbers and usually context makes it clear which one is being talked about.

Posts: 68
Reply with quote  #6 
I am offering my $0.02 and hoping that somebody will correct me if I am incorrect

C D Eb F G Ab Bb C...  ==   C Natural Minor

Flat the 2nd of C Natural Minor,  C Db Eb F G Ab Bb C , then rearrange the notes,  i think the following is F natural minor, F G Ab Bb C Db Eb F ----  which is up a P4 from C Natural minor.   

Flat the G (2nd degree) in F natural minor , then rearrange the notes and you may find another Natural minor scale up a P4.    e.g. F Gb Ab Bb C Db Eb F = Bb C Db Eb F Gb Ab Bb - which i think = Bb natural minor which is up a P4 from F natural minor

I have not tried this with other types of minor scales, or any other scales. 

If the above examples are correct, and if you should find your way to trying this with other minor scales, please let me know the results. 

Sorry about any typos...  keyboard small, fingers large. 


Posts: 19
Reply with quote  #7 
Thanks you guys. This gives me something to study and makes perfect sense spelled out. I will go back to Ted’s example also which I believe is in part 2 of the baroque videos and see if it correlates to what he was playing when he mentioned this. It seems like it is somewhat related to the cycle of 5ths/4ths now that you mention changing one note will move you one key around the wheel.
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