Jp Modulation

50 Modulation Techniques (転調テクニック50)

Source: Luna Umegaki (梅垣ルナ), Tenchō Technique 50 — A Practical Collection of Chord Progressions That Expand Your Imagination (転調テクニック50 ―イマジネーションが広がる実践的コード進行集, Rittor Music, 2017). The book contains 50 modulation examples. The home key is always Key=C or Key=Am; degree-name (ディグリー・ネーム, Roman numeral) thinking makes every example portable to any key.

1. Modulation Fundamentals

1.1 Closely Related Keys and Distant Keys

There are 24 commonly used keys (12 major + 12 minor). Taking Key=C as an example, the six types of closely related keys (近親調):

Distant keys (遠隔調): every key beyond the above. The atmosphere changes drastically; used well, this creates dramatic (ドラマチック) development. Half-step and tritone relationships both belong here.

1.2 Core Concept: The Cushion Chord (クッション)

A transitional chord that makes the modulation sound smooth. Most common = the V or V7 of the target key, inserted in the last 1–2 beats before the modulation, resolving across the barline as V7→I (ドミナント・モーション, dominant motion). In the home key this V7 is usually a non-diatonic chord (III7, IV7, VI7, etc.) — exactly the "color-change" signal.

The cushion chord's announcement ladder (how loudly it says "I'm about to modulate!"):

• V (triad): smoothest, lowest announcement
• V7: contains the tritone (トライトーン), more thrust
• ♭II7 (ura-code, 裏コード — tritone substitution): injects foreign notes, strongest announcement, with built-in jazzy flair
• dim / aug (stand-ins for V7(♭9)/V7(♭13)): distinctive sonority, maximum impact
• IV(onV)-type on-chord (オン・コード, slash chord, e.g. F/G): no 3rd (leading tone) → tonal sense blurred → paradoxically "free to fly to any key"

1.3 Degree Thinking and the Three Tools of Unity

• Think of every chord as a Roman-numeral degree: the key changes but the degrees don't — just ask "which chord is the V7 of the target key?"
• Three tools for keeping a sense of unity across the modulation:
  1. Shift the same progression wholesale (identical progression transposed; degrees stay exactly the same)
  2. A cliché line (クリシェ — bass/inner-voice/top-voice line moving stepwise by half steps) running through both keys
  3. A common tone as the top note (トップ・ノート), letting the melody carry through the modulation

1.4 Modulation Distance Determines Character (Quick Reference)

1.5 Practical Decision Flow (How to Choose a Technique)

1. Fix the target key and direction: decide where you want to go (key-lift for the chorus? light/dark switch? final-stretch climax?), and compute the interval relationship (half step / whole step / minor 3rd…).
2. Look up the direction index in Chapter 2: find the techniques for that direction and pick by desired "announcement level" (smooth ↔ impactful).
3. Compute the target key's V7: this is the universal cushion; for more style swap in the ura-code (裏コード, tritone substitution, ♭II7); for more impact use the dim/aug stand-in; for stealth use the IV(onV)-type on-chord.
4. Choose a unity strategy: shift an identical progression wholesale? Run a cliché line through? Keep a common tone on top? (Pick one or combine.)
5. Place the landing: put the cushion chord in the last 1–2 beats before the modulation, resolving across the barline to the new key's I (or a IIm7/IVm two-five entry point).
6. Plan the return trip: turn the new key's I into a dominant 7th (I→I7) or into the home key's IIm, and ride a secondary dominant / two-five-one back home (see Techniques 13 and 14).

1.6 Common Scenarios → Recommended Techniques

2. Index by Target Direction

2.1 Half Step Up (minor 2nd up)

Character: a distant-key jolt plus emotional uplift; the classic pop-music "final-chorus half-step key lift" direction.

Technique 10 | C → D♭ (Track 10)

• C F | Dm7 G7 | C F | C A♭7 || D♭ G♭ | A♭ D♭ | G♭ A♭ | D♭ (A♭7 = target key's V7)
• Point: the V7 cushion works just as well for a half step up; this example deliberately changes the progression after the modulation (plain → splendid) for a fully refreshed mood.
• Scenario: chorus key lift near the end of the song (pop-music standard).

Technique 15 | Am → B♭m (Track 15)

• Identical progression Im | IVm | IIm7(♭5) | V7 shifted up a half step; key move: bar 4's E7 (V7 of Am) → shift up a half step to F7 (V7 of B♭m); after the V7→V7 parallel move, F7–B♭m resolves.
• Scenario: the ōsabi (大サビ, final climactic chorus) — the same chorus lifted a half step to "explode one last time."

Technique 30 | C → C♯m (Track 30)

• C | Em | Dm | G G♯ || C♯m | A | F♯m7 G♯m7 | C♯sus4 C♯m; after the two-five (Dm–G), G shifts up a half step to G♯ = V of C♯m.
• Point: the two keys share no common chords at all → an extremely strong "we modulated!" sensation; a cheerful major key flips instantly into a profound minor.
• Scenario: major-key intro, A section turning minor — vivid contrast.

2.2 Half Step Down (minor 2nd down)

Character: also a distant key; the mood changes abruptly but more calmly than a key lift — good for quietly recoloring between sections.

Technique 04 | Am → G♯m (Track 04)

• Am7 | D7(9) | Bm7 E7(♭9) | Am7 (Im7 | IV7(9) | IIm7 V7(♭9) | Im7), the identical progression shifted down a half step; Im drops straight onto the new key's Im.
• Point: the half-step relationship is a distant key, so the mood-jolt is strong — yet no special technique is needed.
• Scenario: modulating between A-melo (Aメロ, verse) and B-melo (Bメロ, pre-chorus), or following the chorus with a different progression to create a drop-off.

Technique 29 | C → B (Track 29)

• C | Em | Dm | G F♯ || B | D♯m7 | E F♯ | B; after the two-five (Dm–G), G shifts down a half step to F♯ = V of B, then V–I.
• Scenario: colorful development while preserving a calm character (A/B section → chorus).

Technique 39 | Am → A♭ (Track 39)

• Am A♭aug | C(onG) F♯m7(♭5) | F△7 Em7 | G(onA) A || A♭ …; at the resolution point, Im is replaced by the major I (A), and A is a half-step neighbor of the new key's I (A♭), suppressing any abruptness.
• Point: both halves share the same descending chromatic bass cliché line (A→A♭→G→F♯… / A♭→G→G♭→F…) for unity.
• Scenario: expansive modulation from minor A/B sections into a bright chorus.

2.3 Whole Step Up (major 2nd up)

Character: an unmistakable surge; on-chords or a passing dim let you dial the impact up or down.

Technique 14 | C → D (Track 14)

• F G | C A7 || D | G | Em A7 | D; A7 = home key's VI7 = V7 of D as the cushion.
• Point: to return to C, change the final D to Dm (IIm of C) and continue G–C, forming a 2-5-1 homecoming.
• Scenario: C section serving as A/B, D section as chorus — a natural opening-up.

Technique 26 | C → D (Track 26)

• F△7 | Em7 | Dm7 | F(onG) G(onA) | D△7 …; F(onG) = a revoicing of G7(9,11) with the 3rd and 5th removed — no 3rd → blurred tonality — then shifted up a whole step to G(onA) (= a revoicing of A7(9,11)) landing on D△7.
• Scenario: on-chord modulation is exceptionally beautiful; B section → majestic chorus.

Technique 31 | Am → B (Track 31)

• Am A♭aug | C(onG) F♯m7(♭5) | Dm7 | F6(onG) F♯ || B …; Dm7–F6(onG) = a two-five borrowed from the relative key C, then a half-step move to F♯ (V of B).
• Point: the underlying G7 of F6(onG), seen from the key of F♯, is the ura-code (裏コード, tritone substitution) — back-to-back dominant function; the bass descends chromatically on both sides (sinking → grandeur).
• Scenario: song-ending chorus → outro, "one more layer" of grand climax.

Technique 41 | Am → Bm (Track 41)

• Identical progression shifted up a whole step; at the seam, Am → A♯dim → Bm moves chromatically = passing diminished (パッシング・ディミニッシュ); A♯dim ≈ F♯7(♭9) minus its root = a stand-in for Bm's V7.
• Scenario: final-stretch chorus key lift — emotions surge, the minor-key tragic-heroic feel deepens further.

2.4 Whole Step Down (major 2nd down)

Character: neighboring key, naturally beautiful; combines "finale feel" with weight.

Technique 08 | C → B♭ (Track 08)

• C | Em7 | Dm7 | G7 F7 || B♭ F(onA) | Gm Fm7 B♭7 | E♭ | F7 | B♭; F7 (home key's IV7) = V7 of B♭. This is where the book's term "cushion" (クッション) is first defined.
• Point: modulating to a neighboring key is not abrupt, yet the mood clearly changes; after the modulation, the stepwise bass B♭→A→G plus a borrowed two-five add thickness.
• Scenario: pushing the outro toward a climax, creating a "grand finale" atmosphere.

Technique 09 | Am → Gm (Track 09)

• Loop Im | IVm | IIm7(♭5) V7 | Im IV7(=D7) || Gm …; D7 = V7-of-Gm cushion, then the same melody and progression shift down a whole step wholesale.
• Point: whole step down in minor = a handy device for "manufacturing a surge the easy way."
• Scenario: in the final stretch, repeat the same chorus shifted down a whole step for a stronger jolt to the listener.

Technique 24 | C → B♭m (Track 24)

• … C | C7 F7 || B♭m Aaug B♭m(onA♭) E♭(onG) | G♭△7 | Fm7 | B♭m; C7 (new key's II7 = double dominant, ドッペル・ドミナント) → F7 (V7) → B♭m = II7–V7–Im two-five-one; two dominant 7ths in a row double the modulation feel.
• Point: after the modulation the bass B♭–A–A♭–G forms a minor cliché line, sinking and weighty.
• Scenario: a heavy passage that makes people go "look up! listen!".

2.5 Minor 3rd Up

Character: in major = splendid and grand (華やか); in minor = a discreet color change that doesn't call attention to itself.

Technique 01 | Am → Cm (Track 01)

• Am | A♭aug | C(onG) | F♯m7(♭5) | F△7 Em7 | Am, the identical progression moved up a minor 3rd for the Cm section.
• Point: the descending chromatic bass cliché line (A→A♭→G→F♯→F→E / C→B→B♭→A→A♭→G) runs through both keys, and the top notes keep the same intervallic relationship.
• Scenario: in minor, when you want "a slight recolor without upheaval" — the verse develops naturally while leaving the expectation that "there's more to come."

Technique 03 | C → E♭ (Track 03)

• Dm7(9,11) | G7(13) | Em7 | Am7 || Fm7(9) | B♭7(13) | E♭△7; every chord keeps the note G fixed as the top note (serving in turn as 11th/root/3rd/7th/9th/13th/3rd), landing via the new key's two-five-one.
• Scenario: a common tone carrying the melody through — the "monotonous melody" becomes the personality.

Technique 07 | C → E♭ (Track 07)

• C | Dm | G7 | C B♭7 || E♭ | Gm7 | A♭ B♭ | E♭; B♭7 = V7-of-E♭ cushion.
• Point: minor 3rd up between major keys = hanayaka (華やか, splendid and grand) — the counterpart to the "settled" character of the minor 3rd down.
• Scenario: last run of the chorus → pushing the outro to a climax.

Technique 27 | C → E♭m (Track 27)

• C | Em7 | F | C G(onB) | Am | D7 | F6(onG) || A♭m7 B♭m7 | E♭m …; F6(onG) (≈ G7sus4 — no 3rd, no tritone → weak resolution pull) slides directly to the half-step neighbor A♭m7 = IVm7 of E♭m, then IVm7–Vm7–Im.
• Scenario: a cute C-major verse → a solemn E♭m interlude, backing a guitar/piano solo.

2.6 Minor 3rd Down

Character: stays bright while gaining a little composure; a positive, refreshing direction.

Technique 02 | C → A (Track 02)

• Canon progression (カノン進行) C G | Am Em | F C | F G || A E | F♯m C♯m | D A | D E | A, shifted down wholesale with degrees exactly identical.
• Point: the ending F–G–A replaces F–G–C; A is the parallel key of Am (C's relative minor), so the dissonance is minimal.
• Scenario: major-key Canon in the chorus, outro moved down a minor 3rd — a splendid ending within unity.

Technique 06 | C → A (Track 06)

• C | F | G7 | C E7 || A E(onG♯) | F♯m7 C♯m | D E7 | A; E7 = home key's III7 = V7-of-A cushion (V7–I is the most frequent move in the whole book).
• Point: minor 3rd down between major keys = "stay bright, settle slightly"; after the modulation comes a shortened reharmonization of the Canon progression (bass A→G♯→F♯…).
• Scenario: verse → chorus, with an "eyes light up" moment at the modulation.

Technique 28 | Am → F♯ (Track 28)

• Am | Em(onG) | F△7 Em7 | Dm7 G | C C♯ || F♯ …; C (Am's ♭III, tonic-function substitute) shifts up a half step in parallel to C♯ = V of F♯, then V–I.
• Point: this chapter's mantra — "make a half-step parallel move onto the cushion chord"; the first half's stepwise descending bass is stately and grand.
• Scenario: cold, austere minor B section → splendid major chorus; a total mid-song change of character.

Technique 35 | Am → F♯m (Track 35)

• Am F△7 G | Em7 (×2); on the second pass, Em7 shifts up a whole step to F♯m7 = the new key's Im7, entering directly.
• Point: the whole-step parallel move sounds remarkably beautiful; Am→F♯m = "the relative key of parallel-key A" direction — fresh but not jarring.
• Scenario: intro → A section, announcing a change of character in an instant, deepening the minor key's gloomy haze.

2.7 Major 3rd Up / Down

Character: a fairly distant leap; create surprise via half-step shifts, identical progressions, or a cushion-free direct jump.

Technique 33 | Am → D♭ (major 3rd up) (Track 33)

• Am G6 | F△7 Em7 | Dm7 G | Em7 || E♭m7 A♭7 | D♭△7 …; Em7 shifts down a half step to E♭m7 = IIm7 of D♭, flowing straight into the two-five-one E♭m7–A♭7–D♭△7.
• Point: "half-step shift → resolve to the new key's I via a two-five-one" is a must-memorize formula.
• Scenario: post-chorus final-stretch modulation into the ending, pushing to a climax before closing.

Technique 38 | Am → C♯m (major 3rd up) (Track 38)

• Bm7(♭5) E7 | Am | F♯m7(♭5) | F△7 Em7 | Asus4 Am || D♯m7(♭5) G♯7 | C♯m … (both halves exactly identical in shape).
• Point: in minor, Im is an extremely flexible resolution point — after resolving on Im, going to almost any key causes little dissonance; dive straight into the new key's IIm7(♭5) to launch an identical minor two-five-one, "melancholy accelerating."
• Scenario: when the whole chorus repeats as the ending, turn it into a modulating repeat.

Technique 32 | Am → Fm (major 3rd down) (Track 32)

• The Autumn Leaves progression (枯葉進行) IVm ♭VII | ♭III△7 ♭VI△7 | IIm7(♭5) V | Im moved wholesale to Fm; at the seam: after Am resolves, shift up a half step to B♭m = the IVm of Fm (the first chord of the new key's progression).
• Point: the landing spot of a half-step shift is not limited to V — always keep the "shift to something other than V" perspective in stock.
• Scenario: deepening a sorrowful loop even further.

Technique 34 | C → G♯m (major 3rd down) (Track 34)

• Reharmonized Canon C G | Am Gm7 C7 | F Em7 Am | Dm G7 || G♯m …; G7 → G♯m a half step above, taken directly as the new key's Im, jumping without any cushion.
• Point: no cushion = maximum "it suddenly changed!" impact.
• Scenario: a dramatic form where A/B sections stay bright and the chorus turns suddenly profound and heavy.

2.8 Fourth/Fifth Relationships (dominant/subdominant-key directions)

Character: the most common chords and the smoothest direction; home turf of the secondary dominant (セカンダリー・ドミナント).

Technique 11 | C → F (subdominant key) (Track 11)

• C | Dm | G7 | C7 || F | B♭ | C7 | F; C7 = home key's I7 = F's secondary dominant and simultaneously the target key's V7 — one stone, two birds.
• Point: the subdominant key shares many chords, so the modulation is smooth; the moment a secondary dominant sounds, listeners sense "something's about to unfold!"
• Scenario: stoking anticipation at the A-section → B-section seam.

Technique 12 | Am → F (relative key of the subdominant) (Track 12)

• Am | Dm | G | C7 || F C(onE) | Dm Am(onC) | B♭ C7 | F; after the minor-key staple Im–IVm–♭VII, C7 = the secondary dominant of ♭VI (F).
• Point: C7 can be softened to C (weaker announcement); if the modulation feels too faint, densify the harmonic rhythm after the modulation (a change every 2 beats) to make it explicit.
• Scenario: minor → gentle major (the bass F–E–D–C–B♭ descends stepwise, splendid and fluid).

Technique 13 | C → G (dominant key) (Track 13)

• Dm | G7 | C | D7 || G | C | D7 | G; D7 = home key's II7 secondary dominant = V7 of G.
• Point: the dominant key shares many chords and flows easily; to return to C, change the final G to G7 as a cushion and continue C F G C.
• Scenario: a demonstration that secondary dominants are usable everywhere.

Technique 20 | C → F (subdominant key) (Track 20)

• C | F | G7 | C F♯7 || F …; use F♯7, the ura-code (裏コード, tritone substitution) of the target key's V7 (C7), as the cushion — more stylish, with more contour.
• Point: announcement level V < V7 < ♭II7; F♯7 can also be read as "ura-code-ification of the secondary dominant."
• Scenario: any seam — A→B, into the chorus — whenever "something's missing," try it.

Technique 21 | Am → Dm (subdominant key) (Track 21)

• Two exactly identical minor progressions joined; the straightforward move is Dm's secondary dominant A7, here replaced by its ura-code E♭7 — the root motion E♭→D descends by half step, a beautiful line.
• Point: the ura-code of a secondary dominant has an extremely high announcement level — "something new is coming!"
• Scenario: pushing the chorus higher in the final stretch and closing memorably.

Technique 23 | Am → G (relative key of the dominant) (Track 23)

• Am | Dm | E | Am D || G | C | Am7 D7 | G; bars 4–5's Am–D–G = the key of G's IIm–V–I (ツー・ファイブ・ワン, two-five-one).
• Point: before the target I, first place V (D); before V, place IIm (Am) — building the bridge layer by layer.
• Scenario: minor → major "the view opens up," especially verse → chorus.

Technique 25 | Am → Em (dominant key) (Track 25)

• E | Am | Dm | G | E | Am | F♯m7(♭5) B7 || Em …; F♯m7(♭5)–B7–Em = the minor two-five-one IIm7(♭5)–V7–Im.
• Point: F♯m7(♭5) is simultaneously the VIm7(♭5) diatonic to the Am melodic minor scale = a pivot chord (ピボット・コード).
• Scenario: two-part A-section → chorus form, suits acoustic arrangements.

Technique 36 | Am → E (perfect 5th up) (Track 36)

• … F△7 Em7 | G(onA) A B || E …; A = Im turned major = IV of E, B = V of E → sandwiching IV before the new key's I forms IV–V–I.
• Point: tonal "gradation" (グラデーション) — like a color gradient, hints of the major key seep through bit by bit.
• Scenario: sentimental minor B section → warm major chorus, with clear tension and release.

Technique 40 | C → Fm (perfect 4th up) (Track 40)

• Dm G | Em7 Am7 | Dm7 G | C Edim || Fm …; Edim = a stand-in for Fm's V7 (C7): its notes ≈ C7(♭9) minus the root (E=3rd, G=5th, B♭=7th, D♭=♭9th).
• Point: compared to plain C7, the shadowed dim announces more loudly "we're heading into minor!" — the worldview changes abruptly.
• Scenario: B section wavering → chorus release, "the decision is made!"

Technique 42 | C → F (subdominant key) (Track 42)

• F△7 G(onF) | Em7 A7 | Dm G7 | C Caug || F …; Caug as the cushion (compare its notes to C7(♭13): C/E/G♯), containing an ascending chromatic cliché line G→G♯→A pushing toward F.
• Point: C7 would also modulate, but the aug sonority hits harder, making the listener strongly anticipate a new development.
• Scenario: restrained verse vs. a grandly unfolding chorus (slow the harmonic rhythm before the modulation).

Technique 43 | C → Dm (relative key of the subdominant) (Track 43)

• C G(onB) | C(onB♭) F(onA) | Dm7 | F6(onG) Aaug || Am7(onD) …; the bass descends C→B→B♭→A, Dm7–F6(onG) = a two-five (F6(onG) ≈ G7), and Aaug ≈ A7(♭13) = a stand-in for Dm's V7.
• Scenario: final chorus in C → a slightly "cool" Dm ending, closing on light/dark contrast.

2.9 Parallel Key (同主調 — light/dark switching)

Character: the tonic stays put while light and dark swap directly; sharing the same V7 is the greatest convenience.

Technique 16 | C → Cm (bright → dark, direct contrast) (Track 16)

• F△7 | Em7 Am7 | Dm7 | Dm7(onG) G7 || Cm | Fm | Dm7(♭5) G7 | Cm.
• Point: G7 is the V7 in both keys (parallel major and minor share the dominant) — one chord, two jobs; "bright → dark" with zero friction.
• Scenario: major A/B sections, minor chorus — crisp merihari (メリハリ, dynamic contrast).

Technique 17 | Am → A (dark → bright) (Track 17)

• Am | G♯dim | Am(onG) | F♯m7(♭5) | F△7 | Em7 | Dm | E7 || A E(onG♯) | A(onG) | D(onF♯) | Dm(onF) | E7 | A.
• Point: E7 is the shared V7 of both keys; before and after the modulation the bass is the same descending chromatic cliché line (A–G♯–G–F♯–F–E), and the matching contour preserves unity.
• Scenario: lonely minor A section, major chorus opening wide — matching an emotional reversal in the lyrics.

Technique 37 | C → Cm (gradation style) (Track 37)

• C C7 | F D(onF♯) | C(onG) Am | Fm G7 || Cm A♭ | Fm G7 | Cm …; Fm = the subdominant minor (サブドミナント・マイナー, IVm — a faintly overcast color) → IVm–V7–Im flows smoothly into Cm.
• Point: in contrast to Technique 16's "direct switch," here light shades into dark gradually — "like a gradient filter"; i.e., "use the target key's IVm–V7 as the cushion."
• Scenario: bright A section, slightly darker B section — a smooth change of mood.

2.10 Relative Key (平行調 — relative major/minor)

Character: same key signature, nearly all chords in common; the smoothest light/dark switch.

Technique 05 | Am → C (Track 05)

• Am | Dm | E7 | Am G || C G(onB) | Am Em | F G7 | C; G = home key's ♭VII = the target key's V as cushion; G–C is simply V–I.
• Point: the origin of the book's whole "cushion" idea; after the modulation comes a shortened reharmonization of the Canon progression (bass C→B→A→E→F→G→C).
• Scenario: minor A section (shadow) → major chorus (light), "the view suddenly opens up."

2.11 Distant Keys (tritone relationship)

Character: the farthest key relationship; bridge it with the ura-code and you get the most dramatic development of all.

Technique 18 | C → G♭ (diminished 5th up) (Track 18)

• C G(onB) Am | Gm7 C7 | F C(onE) Dm7 | Dm7(onG) D♭7 || G♭ …; D♭7 = C's ♭II7 (ura-code) = G♭'s V7 — a dominant function shared by both keys serves as the bridge.
• Point: the first half's bass descends stepwise C–B–A–G–F–E–D–(G)–D♭; C and G♭ are the most distant of keys, so bridged well, the effect is supremely dramatic.
• Scenario: dramatic development requiring maximum contrast.

Technique 19 | Am → E♭m (diminished 5th up) (Track 19)

• Am | Dm | G7 | C△7 | F△7 | Em7 | Am | B♭7 || E♭m …; B♭7 = the ura-code of Am's V7 (E7) = E♭m's V7 — the formal definition of the pivot chord (ピボット・コード: a chord that has an identity in both keys).
• Scenario: B section → chorus in one sweep; used at the ending it also closes dramatically.

2.12 Chained Modulations (連続転調)

The only rule: there is no rule saying "one modulation per song" — as long as the music holds together, modulate as many times as you like.

Technique 22 | Am → A♭ → E♭ (half step down → its dominant key) (Track 22)

• Am | Em7 | F | C | Dm | Bm7 E7 A7 || A♭△7 | D♭△7 | Gm7(♭5) | C7 | Fm | B♭7 | E♭△7; A7 = the ura-code of A♭△7's secondary dominant (E♭7).
• Point: after the modulation, I△7–IV△7–VIIm7(♭5)–III7–VIm–II7 is a strong progression (強進行, roots falling by consecutive 5ths); the closing Fm–B♭7–E♭△7 two-five-one carries out the second modulation in stride.
• Scenario: a wistful, tightly-wound B section → a chorus that unfurls in splendor in an instant.

Technique 44 | C → (hidden F) → E (major 3rd up) (Track 44)

• C | Gm7 C7 | F△7 | F△7 || F♯m7(♭5) | B7(♯9) B7(♭9) | E△7; the first half's Gm7–C7–F△7 is simultaneously a two-five-one in Key=F (F lurking inside); the second half is a modified two-five-one (IIm7(♭5) borrowed from the parallel key Em + an altered dominant 7th).
• Scenario: chained major-key modulations, splendid — well suited to chorus progressions.

Technique 45 | C → A → F♯m (minor 3rd down ×2) (Track 45)

• C△7 | Dm7 | B♭△7 | A△7 | D△7 | F(onG) G7 | F♯m7(9); B♭△7 shares 3 notes with Dm7 (D, F, A) as the cushion, then slides down a half step into A; G7 = the ura-code of F♯m's V7 (C♯7), preceded by its revoicing F(onG).
• Point: short-span chained modulations that keep delaying resolution = the emotion of "hazy irresolution."
• Scenario: the A section straight out of the intro and other song-opening passages, deliberately projecting a "complex" impression.

Technique 46 | C → Em → G (relative key of the dominant → relative key) (Track 46)

• C△7 E♭7(9) | Dm7(11) | G7 | Em7 A7(♭9) | Dm7 | G7(13) || Em E♭aug | Em7(onD) C♯m7(♭5) | C△7 | Am7(onD) G.
• Point: Em = C's tonic-function substitute chord (a common/pivot entry with no friction); the Em section's bass cliché line E–E♭–D–C♯; C△7 has a double identity (Em's ♭VI△7 = G's IV△7); Am7(onD) = a softened revoicing of D7 closing V–I. The top note is unified on the common tone G.
• Scenario: when crossing multiple keys, build the melody first from tones common to all the chords.

Technique 47 | C → Em → E → G → Em (two-five chain) (Track 47)

• Dm7 G7 | Em7 A7 | F♯m7(♭5) B7 | E△7(9) E7(♭9) | Am7 D7(9) | G△7 C△7(9) | F♯m7(♭5) B7 | Em.
• Point: one two-five per bar drives it forward; the highlight is a minor two-five (F♯m7(♭5)–B7) resolving to the parallel major's I (E△7(9)) — strong surprise; then I△7→I7(♭9) becomes a dominant 7th to keep pushing, closing at last with a minor two-five-one.
• Scenario: maximum impact (インパクト) — best suited to the chorus.

Technique 48 | Am → Gm → Bm (whole step down → major 3rd up) (Track 48)

• Am7 | D(onE) | Cm7 | F(onG) | Em7 | F♯7 | A(onB); every modulation seam uses an on-chord: D(onE) = E7(9,11) minus the 3rd and 5th, F(onG) = Gm7(9,11) minus the 3rd and 5th.
• Point: no 3rd (leading tone) → blurred tonal sense → the ear glides smoothly into the new key; a plain dominant would actually be more jarring.
• Scenario: intro and A section in different keys, with vividly contrasting melodies.

Technique 49 | C → Cm → B♭m → A♭ → F (two-five reharmonization chain) (Track 49)

• Dm7 | F△7(onG) D♭7(9) | Cm7(9) | E♭(onF) C♭7(9) | B♭m7(9) | D♭(onE♭) G♭7 | F△7.
• Point: a triple chain of the module "IIm7 → (V7 as on-chord) → (V7's ura-code) → new key's Im7 (doubling as the next key's IIm7)" — every landing point is both a resolution and the start of the next two-five; the final G♭7 (ura-code of F's V7) resolves down a half step to F△7.
• Scenario: 2-5-1 reharmonization (リハーモナイズ) = an extremely stylish (おしゃれ) chained-modulation atmosphere.

Technique 50 | C → D → E → G → A → B (I△7 parallel motion) (Track 50)

• C△7 | D△7 | E△7 | E△7 | G△7 | A△7 | B△7 | B△7 — every chord is the I△7 of its own key; whole step ×4 + minor 3rd ×1 in continuous parallel motion through 6 keys.
• Point: parallel-moving major 7th chords = voice relationships fully preserved; short hops are seamless, and even the far leap "lands beautifully" (美しくキマる).
• Scenario: a bright, refreshing (さわやか) all-purpose modulation template.

3. Index by Technique Type

3.1 V7 Cushion Family (basic cushion forms)

Core question: "Which chord is the target key's V7?" — place it in the last 1–2 beats before the modulation, landing V7→I across the barline.

• 05 Am→C: the target key's V (G, home key's ♭VII) as cushion — the origin of the cushion idea
• 06 C→A: E7 (home key's III7) = new key's V7, bright yet settled
• 07 C→E♭: B♭7 = new key's V7, a splendid minor-3rd-up push
• 08 C→B♭: F7 (home key's IV7) = new key's V7 — where the term "cushion" is defined
• 09 Am→Gm: D7 (home key's IV7) = new key's V7 + identical progression down a whole step
• 10 C→D♭: A♭7 = new key's V7, with a deliberate change of progression after the modulation
• 11 C→F: C7 (home key's I7) = F's secondary dominant and new key's V7 — one stone, two birds
• 12 Am→F: C7 = secondary dominant of ♭VI (F); if the announcement is too weak, densify the harmonic rhythm after modulating
• 13 C→G: D7 (home key's II7 secondary dominant) = new key's V7; for the return trip just change G to G7
• 14 C→D: A7 (home key's VI7) = new key's V7; to return, change D to Dm and continue G–C
• 15 Am→B♭m: E7→F7, V7→V7 half-step parallel move — the ōsabi weapon
• 16 C→Cm: G7 is the shared V7 of both keys, one chord doing two jobs for a direct light/dark switch
• 17 Am→A: E7 shared by both keys + the same cliché line in both keys for unity
• 36 Am→E: sandwich the new key's IV (A) before its V (B) = IV–V–I gradation-style landing
• 37 C→Cm: the target key's IVm–V7 as cushion (subdominant-minor gradation)

3.2 Ura-Code Family (tritone substitution, ♭II7)

Principle: ♭II7 shares the same tritone as V7, so its resolving function is equivalent; the bass resolves down a half step — stylish, and the loudest announcement.

• 18 C→G♭: D♭7 = home key's ♭II7 = target key's V7, dual dominant function bridging distant keys (major version)
• 19 Am→E♭m: B♭7 = ura of home key's V7 = target key's V7 — the pivot chord (minor version)
• 20 C→F: cushion with F♯7, the ura-code of the target key's V7 (C7) — more stylish than V7
• 21 Am→Dm: secondary dominant A7 replaced by its ura-code E♭7, root E♭→D descending by half step
• 22 Am→A♭: A7 = ura-code of the target opening chord A♭△7's secondary dominant (E♭7)
• 31 Am→B: F6(onG) (a G7 revoicing) is the ura-code seen from F♯ → dominant functions back to back
• 45 A→F♯m: G7 = ura-code of F♯m's V7 (C♯7), preceded by its revoicing F(onG)
• 49 three ura-codes in the chain: D♭7(9), C♭7(9), G♭7 — all resolving down a half step

3.3 Two-Five Family (ツー・ファイブ)

• 03 C→E♭: land via the new key's borrowed IIm7–V7 (Fm7(9)–B♭7(13)–E♭△7)
• 23 Am→G: build up layer by layer before the target I — Am–D–G = new key's IIm–V–I
• 24 C→B♭m: C7–F7–B♭m = II7–V7–Im (double-dominant, ドッペル・ドミナント, back to back)
• 25 Am→Em: minor two-five-one IIm7(♭5)–V7–Im + a melodic-minor pivot chord
• 29 C→B: after the two-five (Dm–G), V shifts down a half step to become the new key's V
• 30 C→C♯m: after the two-five, V shifts up a half step to become the new key's V — light/dark reversal
• 31 Am→B: on-chord two-five (Dm7–F6(onG)) + half-step move
• 33 Am→D♭: Em7 shifts down a half step to become the new key's IIm7 → straight into a two-five-one landing
• 38 Am→C♯m: identical minor two-five-one progression shifted directly (major 3rd up)
• 44 C→E: first half hides a Key=F two-five-one; second half is an altered, modified two-five-one
• 47 four-key two-five chain; a minor two-five resolving to the parallel major's I for surprise
• 49 triple two-five reharmonization chain (on-chord-ification + ura-code-ification)

3.4 dim / aug Family (V7 stand-ins)

• 40 C→Fm: Edim ≈ C7(♭9) minus the root = stand-in for the target key's V7, loudly announcing the turn to minor
• 41 Am→Bm: A♯dim ≈ F♯7(♭9) minus the root; Am→A♯dim→Bm = passing diminished (パッシング・ディミニッシュ — a dim connecting two chords a whole step apart)
• 42 C→F: Caug ≈ C7(♭13) as cushion, containing the ascending chromatic cliché line G→G♯→A
• 43 C→Dm: Aaug ≈ A7(♭13) = stand-in for Dm's V7; the quirky sonority raises the announcement level
• Common thread: each can be swapped back to a plain V7 and still work, but the dim/aug sonorities hit harder and announce more loudly.

3.5 Parallel-Shift Family

Shift an identical progression wholesale (degrees completely unchanged, strongest unity):

• 01 (minor 3rd up / minor), 02 (minor 3rd down / Canon), 04 (half step down), 09 (whole step down), 15 (half step up), 21 (subdominant key), 32 (Autumn Leaves loop, major 3rd down), 38 (major 3rd up), 41 (whole step up)

Single-chord half-step shift to a cushion/landing point (mantra: make a half-step parallel move onto the cushion chord):

• 28: ♭III (C) → half step up to the new key's V (C♯)
• 29/30: V → half step down/up to the new key's V
• 32: after Im resolves, half step up to the new key's IVm (the landing point is not limited to V!)
• 33: Vm7 half step down to the new key's IIm7, then two-five-one
• 39: Im replaced by I, a half-step neighbor of the new key's I

Whole-step shift (exceptionally beautiful sonority): 26 (F(onG)→G(onA)), 35 (Em7 → new key's Im7)

Cushion-free direct jump (maximum impact): 34 (G7 → G♯m a half step above, taken directly as the new Im), 38 (minor Im is a flexible resolution point, dive straight into the new key)

I△7 chained parallel motion: 50 (crossing 6 keys, all-purpose bright template)

3.6 On-Chord Family (slash chords, IV(onV))

Principle: IV(onV) ≈ V7(9,11) minus the 3rd and 5th — no leading tone → dominant function softened, tonal sense ambiguous → "free to fly to any key."

• 26 C→D: F(onG) shifted up a whole step to G(onA) (= an A7(9,11) revoicing)
• 27 C→E♭m: F6(onG) (≈ G7sus4) sliding to the half-step-neighbor IVm7 of the new key
• 31 Am→B: F6(onG) serving as the "five" of a two-five, then a half-step move to the new key's V
• 43 C→Dm: F6(onG) forming a two-five with Dm7
• 46 C→Em→G: Am7(onD) = a softened revoicing of D7 closing V–I
• 48 Am→Gm→Bm: every seam uses D(onE) and F(onG) — smooth and seamless
• 49 in the chain, F△7(onG), E♭(onF), D♭(onE♭) are all V7s turned into on-chords

3.7 Chained-Modulation Family (the unifying recipe)

Universal recipe: design every "landing chord" with a double identity (the old key's resolution point = the new key's IIm7/IVm/substitute chord), then drive toward the next key with a two-five (or a reharmonized form of it).

• 22 Am→A♭→E♭: entry via the secondary dominant's ura-code + strong progression + a closing two-five-one that modulates once more
• 44 C→(F)→E: the dominant 7th C7 makes F△7 instantly heard as Key=F's tonic — the "hidden key"
• 45 C→A→F♯m: common-tone cushion (B♭△7 shares 3 notes with Dm7) + ura-code G7
• 46 C→Em→G: substitute-chord entry (Em = C's tonic substitute) + C△7's double identity
• 47 C→Em→E→G→Em: one two-five per bar chained; a minor two-five resolving to the parallel major's I
• 48 Am→Gm→Bm: every seam turned into an on-chord, blurring tonality for a smooth crossing
• 49 C→Cm→B♭m→A♭→F: triple chain of "IIm7 → V7 as on-chord → V7's ura-code → new Im7 (doubling as the next key's IIm7)"
• 50 C→D→E→G→A→B: I△7 parallel motion, voice relationships fully preserved

4. Appendix: Theory Quick Reference

4.1 Chord Function (T / SD / D)

• Tonic (トニック, T) = I: the tonal center, most stable; Subdominant (サブドミナント, SD) = IV: semi-stable, can move to T or D; Dominant (ドミナント, D) = V/V7: V7 contains the tritone between its 3rd and 7th, strongly pulling toward resolution to T.
• Major: I△7=T | IIm7=SD | IIIm7=T | IV△7=SD | V7=D | VIm7=T | VIIm7(♭5)=D
• Natural minor: Im7=T | IIm7(♭5)=SD | ♭III△7=T | IVm7=SD | Vm7=D | ♭VI△7=SD/T | ♭VII7=SD

4.2 Diatonic Chord Templates (ダイアトニック・コード)

• Major: I△7, IIm7, IIIm7, IV△7, V7, VIm7, VIIm7(♭5)
  • e.g. Key=C: C△7, Dm7, Em7, F△7, G7, Am7, Bm7(♭5)
• Natural minor: Im7, IIm7(♭5), ♭III△7, IVm7, Vm7, ♭VI△7, ♭VII7 (the book thinks in natural minor by default; in practice the harmonic-minor V7 is often borrowed for its leading-tone resolution)
  • e.g. Key=Am: Am7, Bm7(♭5), C△7, Dm7, Em7, F△7, G7
• Harmonic minor: Im△7, IIm7(♭5), ♭III△7(♯5), IVm7, V7, ♭VI△7, VIIdim
• Melodic minor: Im△7, IIm7, ♭III△7(♯5), IV7, V7, VIm7(♭5), VIIm7(♭5) (source of the VIm7(♭5) in Techniques 25/38/46)

4.3 Substitute Chords (代理コード)

The theoretical basis for Technique 46's "use Em in place of C to accomplish the C→Em modulation."

4.4 Six Standard Devices

1. Dominant motion (ドミナント・モーション): V7→I. The sense of resolution comes from two chromatic lines (G7→C: 7th F→E descending, 3rd B→C ascending). Indispensable whenever you want the modulation to "flow naturally."
2. Two-five(-one) (ツー・ファイブ（・ワン）): IIm7–V7(–I), the most common cadential module; minor form is IIm7(♭5)–V7–Im. Modulation application = "land via the new key's borrowed two-five-one."
3. Secondary dominant (セカンダリー・ドミナント): turn any diatonic chord other than V7 into a dominant 7th, resolving to the diatonic chord a perfect 4th above it.
   • All patterns in Key=C: C7→F / D7→G / E7→Am / A7→Dm / B7→Em
4. On-chord (オン・コード, slash chord): bass note inside the chord = an ordinary inversion; bass note outside the chord (e.g. C(onD)) = viewed from the bass it spells "Root·7th·9th·11th" — no 3rd, function blurred — and can substitute for a dominant 7th or minor 7th, the key to slippery-smooth modulation.
5. Ura-code (裏コード, tritone substitution, ♭II7): shares the same tritone as V7 (G7's B/F = D♭7's F/C♭), so resolution function is equivalent; being non-diatonic it sounds fresher and more stylish, with the bass resolving down a half step (♭II→I). On the circle of fifths it sits directly opposite V (on the diagonal).
6. Subdominant minor (サブドミナント・マイナー, IVm): a chord borrowed from the parallel minor, adding a touch of sorrow to a major key (a faintly overcast color).

4.5 Interval Quick Reference

• Perfect intervals: perfect unison = 0 semitones | perfect 4th = 5 | perfe

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