Orientation: The circle is a representation of the relationships of all the keys to each other. Skill: Learn to think in the interval of a perfect 5th ascending and descending.

Mastery exercises:Play major tonics around the circle of 5ths, hands separately, clockwise “in the direction of sharps.” C-G-D-A: no-tice that the inversion of a 5th is a 4th. Thus the D may be brought down and you can alternate around the circle, up a5th, down a 4th. Be sure to advance the 5ths by whole steps: C-G, D (a whole step up from C) –A (a whole step upfrom G). Say the keynotes aloud with their key signatures in sharps or flats: G = one sharp; D = 2 sharps.

Then reverse the order, alternating the 5ths and 4ths for the descending circle of 5ths, counterclockwise around thecircle “in the direction of flats”: C down to F, up to B-flat, down to E-flat, up to A-flat, and so on.

Play the order of sharps (also added in 5ths); then play the order of flats in descending 5ths (or ascending 4ths).Note that sharps and flats are added in reverse order.

Next level: later play minor tonics around the circle, in each direction.

Inspired Service Playing: How to move from here to thereWorkshop for AGO National Convention, BostonTuesday, June 24, 2014Joyce Shupe Kull, FAGO, ChM, DMAAGO National Councillor for Education

Developing theory skills for modulation, interludes and hymn bridges

CIRCLE OF 5THS–ORDER OF KEYSMajor Keys–capital letters

Minor Keys–lower case lettersFlat KeysDescending5ths

Sharp KeysAscending

5ths

Example 1.

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Emphasizing major keys first, play major triads on each keynote or tonic. Notice that adjacent tonic chords have acommon tone: C-E-G and G-B-D share the G. C-E-G and F-A-C share the C, for example.

Next level: later play minor triads on each minor keynote (tonic).

Primary triads: Practice I, IV, V (7) I cadences around the circles both ways:

When practicing cadences, play them in the closest possible position. That is, keep the common tones in adjacenttonic (I), subdominant (IV) and dominant (V) triads. Practice in every key, hands separately, then together. Saythe chord names as you go: D (major) chord, A (major) chord, D (major) chord.

Next level: later play minor cadences in three positions. Notice that the Major and minor tonics on the same noteshare a common V chord, although their position on the chart is three steps apart. (Ex. C major at 12 o’clock; c minorat 9 o’clock) The shared V chord is very useful in modulation.

Beginning Modulation: You can connect the keys going around the circle with a sequence.(See: Christa Rakich. “Cozy up to the Circle.” TAO, October 2011): 48.

The connection between the keys is made by the quarter notes moving in whole steps, first in the soprano, then inthe alto. The note that is different from C major in the key of F is B-flat. This is the first soprano passing tone in meas-ure 1. The note that is different from F major in the key of B-flat is E-flat. This is the first alto passing tone, beats 3-4in measure 1. Be aware of the adjustment needed in measure 4 in order to shift to sharps (5 o’clock on the Circle,moving counterclockwise). 2

The resolution to the next tonic chords (on beat three, then beat one, next measure) is by half steps, first inwards,then outward, alternating. Play the sequence hands separately, then together until this pattern is automatic. This and the following exercise establish contrary motion between the hands, a helpful device in avoiding parallel 5thsand octaves in your hymn interludes and bridges.

Using a similar sequence, practice playing around the circle clockwise (in the direction of sharps).

As in the previous example, the quarter notes move in whole steps, the passing tones pointing to the next key. The resolution to the tonic chords on beats 3 and then 1, are by half steps, first outward, then inward.Again, practice hands separately and together until the pattern is well-established.

[Intrepid keyboardists will try the sequences in minor: use the same treble clef notes and substitute minor keynotes inthe bass clef—A up to D, down to G, up to C in the direction of flats. In the direction of sharps, keep the same treblenotes and start with A down to E, up to B, down to F-sharp, etc. One may not find the sound as pleasing, but it is auseful mental discipline.]

You can use the circle of keys in modulation. Composers have long used the circle of 5ths in the same key as an expansion tactic, and these sequences can be verybeautiful.

Example 5.

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Practice the non-modulating sequence above in every major and minor key. You will use major, minor and dimin-ished triads from the same scale, not moving around the circle.

Secondary triads in the scale: ii, iii, vi, viiº6

Practice scales in either hand as root position triads, saying F major, g minor, a minor, B-flat major, and so on. Noticethat the relative minors to F (d) and the two keys on either side, C (a) and B-flat (g), are the secondary triads in F asnamed in the scale triad exercise. These are closely related keys, and as we have seen, the chords are all found in theoriginal F scale.Learn to play triad scales in every key.

The planetary system of chords within a key includes the chords harmonically closest to the I chord (Sun) out to thefarthest chords from the tonic. Thus, remembering the planetary orbits of the solar system, the chord on the third noteof the scale (iii) is on Mars; vi is on Earth; the twins IV and ii are on Venus; V (sometimes preceded by I 6/4), and viiºare on Mercury. All chords are inclined to travel toward the Sun (normal progression).

If your modulation lands on a planet (chord) too close to the Sun (I), your creation can planet hop to outward chords(retrogression) before heading inward. Or you can prolong your visit on one planet chord (repetition), similar towhat we did by expanding cadence chords to fill whole measures of block or arpeggiated single chords, before head-ing toward the sun, perhaps even planet hopping on the way inward as well (elision, such as the plagal cadence IV-I).Knowing the hierarchy of chords is extremely useful in modulation.

This leads to another sequence to practice that contains most of the options (except iii and viiº) in the above “solarsystem”: of chords. Note that the bass notes descend in thirds before cadencing on V-I.

Practice in every key.

Example 6.

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The chord progression in example 7 is especially useful in what is called Common Chord modulation, using a commonor pivot chord. In diatonic music (that stays within scale tones), for instance, in the key of F, common chord modula-tion can by accomplished from any of the tonic chords major and minor in the key F and the two adjacent keys (B-flatand C). Then follow the Solar System: for example if you land on A minor (iii in F), then you could use one or more ofthe vi, ii, and IV chords in the new key to get to V-I.

Interchangeability of major and minor modes: another point useful in modulation. As noted earlier, parallel majorand minor keys (sharing the same keynote) also share a common major V chord. So you can land on a V chord thatcan take you to either the major or minor key that uses the common V chord (example : V to C major or C minor)

The IV or subdominant chord can also appear as a major or minor chord, and offers the same access to much moredistant keys. (Example: the g minor iv in D major can move quickly to keys with one, two or three flats in the signature)

Four Chord Modulation: a short-cut(See Overduin, Chapter 19)

Step 1: Establish the first key, using cadence chords I, IV, V, I, or use the last line of thefirst hymn for a hymn bridge.

Step 2: The four chords: I (IV), V, I, with V – I in the new key. The IV chord, in major orminor form, may be from either key. Often use IV in the new key going in the direction of sharps; use the

minor iv in the first key going in the direction of flats. One may need to experiment to see which works best.Step 3: I, IV, V, I, establishing the new key with cadence chords, or use the first line of the second hymn in a hymn bridge.

Example 7a.

Example 7b.

Minor

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These steps may be expanded by having each chord fill a whole measure, as demonstrated earlier, with roots in thebass, and moving tones in one or more voices, thus—adding the four chords each in steps 1 and 3 to the four chordtransition—giving about a twelve measure transition. This can become a workable interlude or bridge.

Examples of Four Chord Modulation:

G Major to E-flat (omitting the establishing of keys in steps 1 and 3):Step 2: (above) G: I iv (c minor chord – we are going in the direction of flats)

E-flat: vi (same c minor chord) V (B-flat chord), I (E-flat chord).

D to E: (again using only step 2 above)D: I V (A major chord)

E: IV (same A major chord), V (B major chord), I (E major chord)

A to B-flat (step 2 only)A: I iv (d minor chord)B-flat: iii (same d minor chord) V (F chord), I (B-flat chord)

Keep your eye on the prize: a practical service use for your modulations, interludes and hymn bridges.

Interludes:(See Overduin, Chapter 25: Interludes and Chapter 26 Modulating Interludes)

Guidelines for interludes: They are generally not longer than the length of the hymn.Interludes grow from the last note of a stanza, with no break. Use V7 of iv (Tonic with

flat 7th on a weak beat) to the minor iv, quickly leaving the tonality of the hymn. Use motifs from the hymn, being careful not to precipitate congregational singing.It is desirable to end on the V chord (no 7th) if the hymn begins on I; end on I if the

hymn begins on V.

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The Judas Maccabaeus example uses a different chord from the V of IV noted above to pivot away from the close ofthe hymn in measure 4. The final major chord becomes minor, and the 5th of the chord moves up a step, creating a di-minished 7th chord (dominant harmony) in D-flat, a whole step down from the E-flat tonality of the hymn.As the interlude begins, ideas from the hymn, not the opening motifs, are used in sequence (a useful expander tool).The interlude ends with a phrygian cadence (bass movement down a half step from c-flat to b-flat), which is a minoriv chord in first inversion going to the V in the original key of E-flat, and ending with a breath helping to cue the congregation for singing.

Example 8. All musical examplesby Joyce Shupe Kull

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This modal hymn in g dorian uses a harmonization by Melchior Vulpius (1560?-1616) in The Hymnal 1982. Here theV of iv in measure 2 leads to a sequence as the interlude begins. Motifs from the second line of the hymn appear in themiddle, and the interlude ends with a variation of the first inversion of the iv chord in the new key, f dorian, the mod-ulation destination. In this example, the fourth tone of the f scale—b-flat—is raised, creating a chord of the augmented6th, a very useful chromatic chord (in its various forms) in modulation, especially to distant keys. Study this transi-tion measure and transpose it to other keys.

Example 9.

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The interlude on Westminster Abbey modulates immediately to f minor, touches briefly on a Phrygian cadence in gminor and moves to the A-flat destination in the third line via another form of the augmented 6th chord, a version ofthe ii chord in second inversion known as the ii 6+ 4+ 3, sometimes called the French augmented 6th. The dominantpedal in A-flat establishes stability and moves smoothly to the hymn, now a half step higher.

Example 10.

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Hymn Bridges:We will apply some of the lessons learned in hymn interludes to hymn bridges, using the modulating methods dis-cussed above and acquiring more practice in using musical motifs from hymns. (See articles on Hymn Bridges by Dr.Phil Gehring in the May 2005 and Oct. 2013 issues of TAO.)

Here, briefly, is Dr. Gehring’s method:1. Chart the keys you must move through using the circle of keys method.2. Think in the meter of the second hymn.3. Select a motif from the second hymn.4. Sketch the plan on staff paper, with motif transposed into the circle of keys selected.5. Now you have a key plan, insuring that you will not wander aimlessly.

Now let us apply these steps in a bridge linking St. Anne (C major) to Slane (E-flat).

Modulating Hymn Bridge: ST. ANNE TO SLANEExample 11.

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Step 1: C to F to B-flat to E-flatStep 2: Use the opening phrase of the second hymn as the motif on which to build the

bridge.Step 3: Transpose the motif to the key of the first hymn.Step 4: Sketch the sequence of motifs according to the key plan, ending in the new key.

Working with three-voice texture at first, begin with the lowest voice; add voices from the lowest to highest voices for easier part writing.

Step 5: Fill in the other parts and add a coda arriving in the new key.

The second hymn bridge is a more difficult modulation, the tritone, from B-flat to E-minor—not practical with eitherthe Circle of Keys or the Four Chord methods. This calls for some utilitarian chromatic chords, and there are two possibilities offered in Example 12:

Modulating Hymn Bridge: REGENT SQUARE TO KINGSFOLD

Example 12.

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After the hymn bridge begins in B-flat, the key of Regent Square, it shifts to minor in measure 6 and pivots to Eminor through a diminished seventh chord on the raised fourth tone of the E minor scale (A-sharp), leading tothe second inversion of the E minor chord, followed by a cadence on the last line of Kingsfold.

The second pivot chord, in the last line of the example, is the augmented 6+ 5 chord, also known as the Germanaugmented sixth (sounding like a dominant 7th chord), again leading to the second inversion of the E minor tonicchord.

Set a goal to play/improvise hymn interludes and bridges regularly with a minimum amount of sketches. Write out ex-amples at first, then work on getting off the page.

Psychology:Decide you will not be judgmental or critical of yourself or others.Reduce fear and procrastination with a schedule. Show up!Remember that there are no mistakes in improvisation. Keep going!Practice—a lot!

Have fun with your creative work, and good luck!

Selected resources:

Overduin, Jan. Making Music: Improvisation for Organists. New York: Oxford University Press, 1998.Comprehensive and clear. Many exercises.

Johns, Michele. Hymn Improvisation. Minneapolis: Augsburg, 1987.A course syllabus for Organ Literature at the University of Michigan. Six short chapters on varied

improvisation techniques. Basic and very useful skills.

Texts by Hancock, Cherwien, Krapf, Conely, Dupré, Ruiter-Feenstra are all excellent resources.

Wayne Leupold editions has published several valuable texts, including books by Shannon, Brillhart (French style),Lanning (Beginning Improvisation. Has been used for youth POE lessons).

Morningstar Music Publishers has an array of Improvisation and Hymn publications:Burkhardt, Michael. Creative Hymn Playing. (2013) MSM-10-380.

Callahan, Charles. The Art of Hymn Playing, 2 vols., plus CDs. (2006, 2009) MSM-10-597, MSM-10-607.

Rotermund, Donald. Off the Page, 2 vols., On or Off the Page. MSM-90-33, MSM-90-56, MSM-10-986.

Westenkuehler, Jerry. Rejoice and Sing! Twenty Festive Hymn Introductions for Organ. (2013) MSM-10-748.

TAO articles: “Learn to Improvise in 15 Minutes a Day.” Various authors. The series began in 2001. A complete listingof the articles (compiled by Andrew Paul Fredel, ChM, and updated by Harold Calhoun at AGO Headquarters and Joyce Kull) is posted on the AGO web site, except for the articles by Leonardo Ciampa that appeared in 2013 and continue monthly.

2011 TAO monthly articles leading to the AGO/EROI Eastman Pedagogy Conference in November 2011 on teachingimprovisation. See the Dec. 2011 Index to TAO for a complete listing.

AGO booklet: Preparing for AGO (Certification) Exams: contains 13 articles on improvisation.

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