Modulating

The point where keys cross is where complicated and crossnamed chords are created. When you are playing in any key, it is theoritically "legal" and encouraged to change to another key. The most common is to change to the fourth or fifth of the key you are currently playing, The fourth and fifth from the Key of C is "F" and "G" so it is common to change to one of these keys...

Any chord with B or F will be affected by a key change...

		< Key of C >
< Changing to F "B" changes to "Bb"		I.		Changing to G > "F" changes to "F#"
	C Major	1 - 3 - 5	C - E - G
	C(5) power	1 5	C G
<	C Major 7th	1 - 3 - 5 - 7	C - E - G - B
<	sus7	1 5 - 7	C G - B
	C Major 9th	1 - 3 - 5 - 2	C - E - G - D
	sus2	1 5 - 2	C G - D
	C Major 11th	1 - 3 - 5 - 4	C - E - G - F	>
	sus4	1 5 - 4	C G - F	>
	C Major 13th	1 - 3 - 5 - 6	C - E - G - A
	sus6	1 5 - 6	C G - A

		II.
	D minor	2 - 4 - 6	D - F - A	D Major >
	D(5) power	2 6	D A
	D minor 7th	2 - 4 - 6 - 1	D - F - A - C	>
	sus7	2 6 - 1	D A - C
	D minor 9th	2 - 4 - 6 - 3	D - F - A - E	>
	sus2	2 6 - 3	D A - E
	D minor 11th	2 - 4 - 6 - 5	D - F - A - G	>
	sus4	2 6 - 5	D A - G
<	D minor 13th	2 - 4 - 6 - 7	D - F - A - B	>
<	sus6	2 6 - 7	D A - B

		III.
< E diminished	E minor	3 - 5 - 7	E - G - B
	E(5) power	3 7	E B
	E minor 7th	3 - 5 - 7 - 2	E - G - B - D
	sus7	3 7 - 2	E B - D
	E minor 9th	3 - 5 - 7 - 4	E - G - B - F	>
	sus2	3 7 - 4	E B - F	>
	E minor 11th	3 - 5 - 7 - 6	E - G - B - A
	sus4	3 7 - 6	E B - A
	E minor 13th	3 - 5 - 7 - 1	E - G - B - C
	sus7	3 7 - 1	E B - C

		IV.
	F Major	4 - 6 - 1	F - A - C	F# Diminished >
	F(5) power	4 1	F C	>
	F Major 7th	4 - 6 - 1 - 3	F - A - C - E	>
	sus7	4 1 - 3	F C - E	>
	F Major 9th	4 - 6 - 1 - 5	F - A - C - G	>
	sus2	4 1 - 5	F C - G	>
<	F Major 11th	4 - 6 - 1 - 7	F - A - C - B	>
<	sus4	4 1 - 7	F C - B	>
	F Major 13th	4 - 6 - 1 - 2	F - A - C - D	>
	sus7	4 1 - 2	F C - D	>

		V.
< G minor	G Major	5 - 7 - 2	G - B - D
	G(5) power	5 2	G D
<	G Major 7th	5 - 7 - 2 - 4	G - B - D - F	>
	sus7	5 2 - 4	G D - F	>
<	G Major 9th	5 - 7 - 2 - 6	G - B - D - A
	sus2	5 2 - 6	G D - A
<	G Major 11th	5 - 7 - 2 - 1	G - B - D - C
	sus4	5 2 - 1	G D - C
<	G Major 13th	5 - 7 - 2 - 3	G - B - D - E
	sus7	5 2 - 3	G D - E

		VI.
	A minor	6 - 1 - 3	A - C - E
	A(5) power	6 3	A E
	A minor 7th	6 - 1 - 3 - 5	A - C - E - G
	sus7	6 3 - 5	A E - G
<	A minor 9th	6 - 1 - 3 - 7	A - C - E - B
<	sus2	6 3 - 7	A E - B
	A minor 11th	6 - 1 - 3 - 2	A - C - E - D
	sus4	6 3 - 2	A E - D
	A minor 13th	6 - 1 - 3 - 4	A - C - E - F	>
	sus7	6 3 - 4	A E - F	>

		VII.
< Bb Major	B Dim.	7 - 2 - 4	B - D - F	B minor >
	* B(5) power dim.	7 4	B F
	B Dim. 7th	7 - 2 - 4 - 6	B - D - F - A
	-----	7 4 - 6	B F - A
	B Dim. 9th	7 - 2 - 4 - 1	B - D - F - C
	-----	7 4 - 1	B F - C
	B Dim. 11th	7 - 2 - 4 - 3	B - D - F - E
	-----	7 4 - 3	B F - E
	B Dim. 13th	7 - 2 - 4 - 5	B - D - F - G
	-----	7 4 - 5	B F - G

< Changing to F	* This follows the same formula for the power chord but it is not a normal power chord...			Changing to G >

This chart shows the interlinked tones from neighboring keys, It is also common to change to distant keys as well. Changing from F to G is not really a 'distant' jump but "C to E" would be considered a somewhat distant jump, The biggest jump would be C to Gb which is jumping to the key directly across from the original key on the circle of keys chart...

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