modulation tables unneccessary if you already know all keys and chords..

[Derek]

Say one can improvise in all 24 major and minor keys, and that one knows all their constituent chords, inversions, and hundreds of possible voicings.

Given that, this basically renders modulation tables useless, doesn't it? Because one actually has a modulation table in one's fingers, as it were.

I thought there was something there that I didn't understand about traditional modulation, for a long time, but now I realize I actually had a "modulation table" in my fingers just cause I know all the keys and chords. I never need to consult such a table. I was under the illusion for years that there was something complicated and mysterious about it which I couldn't penetrate.  The ole "right under your nose" symptom, I suppose!

[mcgillcomposer]

Say one can improvise in all 24 major and minor keys, and that one knows all their constituent chords, inversions, and hundreds of possible voicings.

Given that, this basically renders modulation tables useless, doesn't it? Because one actually has a modulation table in one's fingers, as it were.

I thought there was something there that I didn't understand about traditional modulation, for a long time, but now I realize I actually had a "modulation table" in my fingers just cause I know all the keys and chords. I never need to consult such a table. I was under the illusion for years that there was something complicated and mysterious about it which I couldn't penetrate.  The ole "right under your nose" symptom, I suppose!

What does improvising in all keys have to do with modulating between keys? And knowing how to modulate does not just involve mapping out a path between two centers via a pivot chord. There are many ways of modulating from one key to another (again, not just by pivot chords).

Anyway, that was off-topic...back to the first question: What does improvising in all keys have to do with modulating between keys?

[Derek]

What does improvising in all keys have to do with modulating between keys? And knowing how to modulate does not just involve mapping out a path between two centers via a pivot chord. There are many ways of modulating from one key to another (again, not just by pivot chords).

Anyway, that was off-topic...back to the first question: What does improvising in all keys have to do with modulating between keys?

I suppose it doesn't of necessity have anything to do with improvisation, as one can improvise in a key and choose not to modulate or change key, but I like to indulge in key changes all the time. I like to use traditional modulations with pivot chords and 7ths, I like sudden modulations, chromatic modulations, I use them all (sometimes I don't even really think of myself as being in a "key", I just use whatever sounds I want, intuitively).  My only point was I didn't realize until recently that I already knew how to map out pivot chords and smooth changes (without thinking about them). I thought because of those big complicated tables that there was something I missed. Funny how things like that can just pass one by.

[mcgillcomposer]

I suppose it doesn't of necessity have anything to do with improvisation, as one can improvise in a key and choose not to modulate or change key, but I like to indulge in key changes all the time. I like to use traditional modulations with pivot chords and 7ths, I like sudden modulations, chromatic modulations, I use them all (sometimes I don't even really think of myself as being in a "key", I just use whatever sounds I want, intuitively).  My only point was I didn't realize until recently that I already knew how to map out pivot chords and smooth changes (without thinking about them). I thought because of those big complicated tables that there was something I missed. Funny how things like that can just pass one by.

Haha OK, I see what you mean. Isn't it such a nice feeling to realize that you know something you thought you didn't?