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FamiTracker
This is pretty cool but I have no idea what the fuck you're talking about
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[quote=iGotno_scope]im going to continue making this crazy stuff then after a while my style will be so sick that you will be like damn suuun that shit is so sick i dont even get it. i will be like bro its ok.. you dont have to.[/quote]
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[quote=iGotno_scope]im going to continue making this crazy stuff then after a while my style will be so sick that you will be like damn suuun that shit is so sick i dont even get it. i will be like bro its ok.. you dont have to.[/quote]
This is called a secondary function, or tonicization. If it were to completely change keys into that of the target chord, then it'd be called a pivot chord modulation.
The way we write it in analysis is like such for your first example:
CM: I, viiº/vi, vi.
Read as "One, seven diminished of six, six"
You can also do it using a half diminished seventh chord on g#, a fully diminished seventh chord on g#, a dominant V on E, or a V7 on E.
So the various ways to momentarily make A the tonal center is to try these progressions.
CM (g# b d) am
CM (g# b d f#) am
CM (g# b d f) am
CM (E G# B) am
CM (E G# B D) am
You can also resolve deceptively when you do secondary V :o e.g. I, V/V, vi/V
Though I don't remember the voicing rules, I'd have to check my theory textbook.
There's a wikipedia article on it if you want to read more: [url=http://en.wikipedia.org/wiki/Secondary_dominant]Secondary dominant. Also notable is that these kinds of chords are very useful when trying to harmonize a chromatic bassline. (Also, it's not limited to just diminished chords; any dominant chord type will do.)
Other fun chord techniques: [url=http://en.wikipedia.org/wiki/Tritone_substitution]Tritone substitution and [url=http://en.wikipedia.org/wiki/Augmented_sixth_chord]Augmented sixth chords. (Sorry, I'm too lazy to make examples of these right now.)
Okay, I made a quick example. The voice leading isn't perfect, and there's some questionable/tastless uses of these chord types, but it should demonstrate how they work. Use SHIFT+ENTER to play a single pattern on repeat.
00: plain chord progression
01: applied dominant between chords
02: transpose/revoice all applied dominants by a tritone
03: changed all applied dominants to augmented 6th chords
01 adds [url=http://en.wikipedia.org/wiki/Secondary_dominant]secondary dominants between the chords, pretty straightforward. One of them is a dim vii, like in gyms' example.
02 demonstrates [url=http://en.wikipedia.org/wiki/Tritone_substitution]tritone substitution. The very simple idea is that any dominant chord can be replaced by the dominant chord a tritone away. This works because they actually share two common tones, and those tones happen to be leading tones.
03 uses [url=http://en.wikipedia.org/wiki/Augmented_sixth_chord]augmented sixth chords instead of secondary dominants. This is actually very similar to tritone substitution, actually, but the basic idea in an aug-6th is that you have two leading tones heading by semitone to the tonic of the next chord (in opposite directions). The other notes in the aug-6th chord have a few different variations. Mozart was a big fan of them.
That... suddenly gives me a very strong urge to cover [url=http://www.youtube.com/watch?v=pqashW66D7o]Birdland. (An urge I won't be able to realize for a while... gotta finish an album first.)
