![]() In our example of G-major/minor to C-minor we could use the chord B-D-F-Ab (a vii-dim7/IV in G-major/minor, a normal vii7 in our final C-minor, or, respelt as Cb-D-F-Ab a diminished ii2 in C-minor) followed by B-D-F-G (a V56 in C-minor) followed by a C-minor chord (I). ![]() a subdominantic chord) and may serve as a number of functions in your old key (since diminished 7th chords have the property of being interpretable as a lot of things in any key, if you approach their enharmonic spelling freely). If you want a more complete cadence before arriving at your new tonic (your old subdominant), you might want to use a diminished (seventh) chord before turning your old tonic into your new dominant, which serves as a ii(7) chord in your new tonic (i.e. (Of course there are also tons of other ways to modulate without going via the dominant so directly, but that's just the "easiest", most direct way.) to go from G-minor to C-minor via a dominant, you'd have to turn G-minor into G-major and possibly add a 7th). Modulating from a -minor- key to its minor subdominant is similar, just that if you want to approach it with its dominant, you'll also have to raise your old tonic's third (i.e. It is also a very easy modulation to achieve, since by just adding a minor 7th to your tonic chord (in our example turning G-maj into a G7) you have already reached the a clear dominant chord of your new tonic. So yes, it's common and sounds perfectly "nice", although the latter is, as always, a purely subjective question. Modulating from a major key to its minor subdominant (for example G-major to C-minor) is basically equivalent to going from a (major) dominant to a minor tonic (again G-major to C-minor) and the latter, consisting of V-i, is of course one of the most common progressions of all.
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