3 Ways to Modulate from the Same Opening - Music Composition
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- เผยแพร่เมื่อ 29 มิ.ย. 2024
- This music composition lesson takes an opening bar and demonstrates how to modulate into three different closely related keys. The opening bar is used as a departure point for modulations to the dominant, the subdominant and the relative minor keys. We explore how to use a pivot chord and explain all the options for pivot chord choice in each of the given situations. This video will give you confidence in writing modulations and in recognising modulations in music you are playing or analysing.
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🕘 Timestamps
0:00 - Introduction to three ways to modulate from the same opening
0:40 - What do we mean by the term pivot chord?
1:49 - Playing the three examples of modulation
3:28 - Dominant key modulation
7:43 - Subdominant key modulation
10:43 - Relative minor key modulation
16:22 - Conclusion
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Modulation is one of the most fun things in music.
Especially when you introduce jazz harmonies, the possibilities seem nearly endless.
I could sit there all evening just figuring out different ways of modulating between two keys.
Absolutely
after so many years of classical harmony - the best explanation/demonstration yet!
thanks!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Great content as always! If you can do a video on modulations to distant keys though, I think a lot would like to know that.
We have done but we could certainly do more.
I just love your channel! You make music so easy understood
I love watching your videos! You talk about music with such passion :)
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Thank you. Simple and clear as always and I especially loved the Melodic vs Harmonic use. I have taken several of your long courses and they are great.
Glad it’s all useful
Man. Im an avid learner of music theory. I play axe. And this channel consistently blows my mind. Thank you for your work. !!!!! Its literally changing my musical life.
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Really love your videos, they are simple and clear enough for beginners and also a good review for theory students!
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Very useful. I learnt a little these techniques through studying popular Indian melodies. Now I get the right terminology and notational symbols.
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You are a great teacher. Concise examples about how to apply key elements of modulation. Thank you a lot.
A pleasure. Glad it’s helpful
Straight, to the point, and very useful.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thanks for the insight into the Harmonic Minor, I've been trying to figure out how to use it for years.
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Thank you for sharing all this knowledge!
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Fantastic, clear explanation. Thank you so much.
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What a great lesson. Thank you!
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Outstanding video! Thank you.
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I admire this knowledge, you make me happy for you make these theory more simple
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Brilliant video - thank you !
A pleasure
I love every theory video you’ve made! Happy new year!
Happy new year. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Very well explained! Great video!
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So helpful and clear. Thank you
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Clear and great explanation. TQ
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This is only slightly beyond my skill level now. But it's so well explained, when it's time for me to try it out, I will be well prepared.
A testament to the best music teacher on the internet.
Most kind
Wonderful lesson!
That’s most kind. Much more at www.mmcourses.co.uk
the examples you explained made it more clear to me, and helped me understand how to use them correctly. I wish there was a poster for all of these key/chord relationships. I do have some notepads on computer I've made however.
Excellent
The best way to understand the theory is to listen how it sounds. Masterfully done my friend!
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Thanks for this excellent lesson. So useful for songwriting.
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This is really interesting! Thank you very much!!
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Thank you for the lesson! Greetings from France
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I so needed this.
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Excellent presentation and very valuable information. Thanks.
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Gareth is the modulation king! ❤️😎 Thanks again!
You’re most kind
So useful. Thank you.
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Great delivery 📦
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very good Timing! I am just writing the Developement section in a Sonata! Need to modulate a lot!
Excellent
Amazing explanation 🎶👌
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Great video. Thanks.
Many thanks. Much more at www.mmcourses.co.uk
Very neat! It's like plugging in the V-I cadence from different keys. :P
Absolutely
i learned a lot from this thanks ❤
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That was very useful reinforcement for me. I've been working on a piece that requires a lot of modulation and your previous tutorials on pivot chords have been really helpful. For fun, a piece I wrote last year about hiking traveled half way around the Circle of Fifths to help me flex my modulation muscles. In the past, I wrote pieces that modulated almost by accident, doing it solely by ear and by trial and error. It's a lot easier knowing the proper technique.
😀
I'm positively curious to know why a piece would "require a lot of modulation". No polemic intended, I'm truly curious to understand why you used that verb. I also like to write music. And thank you Gareth for fueling discussion between music lovers!
It’s a pleasure
@@stefanodigarbo4735 In that particular choral piece I chose to hold onto specific pitches for long periods. So to avoid monotony as the piece goes on, at various points the entire chorus modulates.
😀
Brilliant!
😀
Interesting use of the melodic minor key to ease the tension momentarily. I've never seen that before.
😀
This guy is such an underrated chad 👑
That’s most kind. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Gareth thanks for every lessons. I Will teach all lessons to kids of my country.please teach more about counter point 🌹 from iran😉
😀
EXCELLENT!
😀
Brilliant.
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As a beginner, I think this is so awesome
That’s great. Much more at www.mmcourses.co.uk
Excellent as always ❤️ I already understood this topic (thanks to you 😊) but I watched this tutorial anyway as your lessons are just so good and interesting ❤️🎹
You’re too kind. I’ve started singing more on videos just for you!
@@MusicMattersGB 😁😁😁 funny , my next comment was going to be how it makes me smile when you sing the notes 😀
😀
Well done good soul!
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Thanks!
Thanks for your support
Thank you so much sir. Amazing video as always. Beautifully explained. 🙏
That’s most kind
@@MusicMattersGB 🙏🙏
😀
Awesome 😎
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I am a practicing karnatic musician from kerala (India).
I try to study Western also from different sources.
Thank you so much for the valuable explanations.
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Great !
Glad it’s helpful
Before watching this I didn't know how to modulate successfully!...
I still don't know how 'cause I didn't understand but I enjoyed the video!..
Well that’s a move in the right direction and I’m glad you enjoyed it!
Very well explained.
But there are other topics included in this video. This is the tonality and varieties of the scale. In the case of modulation, it should be kept in mind that these mentioned topics are important in order to be bound to the problematic of the subject.
😀
Thanks, Gareth, for the crisp explanation. Is then fair to say that following the pivot chord is almost always the dominant chord of the new key?
That’s a strong way to modulate because the dominant chord of the new key will introduce the accidental needed to take us there.
What I think needs to be pointed out is that in the penultimate beat (2nd of bar 2) is that in all three cases you have effectively created a dominant 7th, which secures the modulation.
I suppose that it is the resolution of 2nd and 4th notes of the dominant 7th (forming an augmented 4th) that are really needed for arrival into the new key. For modulation to a minor key I feel that the 3rd note of the dominant 7th chord is also important.
😀
Thank you for this great content. I have a question, is it also possible to move to for example a Mediant key? or is that a no go?
That’s perfectly possible.
Boss video
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Very awesome. I was actually in middle of practicing modulations since I always switch keys lol. I think I've heard these called common chords too. The chords that share another scale. I think you can get different effects if you play over the chords. Like if you stay off the note that changes on the modulation the more you can sneak in. Or if you play the note that changes the more you can hear a chromatic going into the new key, which I guess makes it more noticeable.
Btw, the maestro thing looks cool. I might join some time next year for a little bit 😃
Excellent. You will be very welcome at Maestros.
🐐
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Interesting. I have been doing this without realizing that it was a method of changing keys. Moving to a further away key is something I find more difficult. Someone once suggested "a jazz turnaround". Didn't really get that one!
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Hello Gareth,
I hope this message finds you well. I am currently working on a piece for cello and have encountered some challenges with modulation, particularly when the harmony is implicit rather than explicitly stated. The transitions between keys tend to feel abrupt, and I am interested in techniques that might make these modulations smoother.
I have analyzed some of Bach's works for inspiration and have found some useful ideas, but I feel like there might be a gap in my theoretical understanding. I haven't been able to achieve the same sense of smooth modulation that I admire in his compositions.
If you have any insights or tips that could help, I would be incredibly grateful. A video on this topic would be an excellent addition to your channel, and I am sure it would benefit composers like myself who are grappling with similar issues.
Thank you in advance for your time and expertise.
Best regards,
Corentin
Have a look back at previous Maestro livestreams. There’s one on modulation. We also have some TH-cam videos on the subject.
Great video, I noticed all the modulations contained the 5th of the new key after the pivot chords, the examples basically finished V-I. This obviously makes sense but is it possible to use chords from the new key other than 5th? Or does it just make for a murkier transition? Thanks!
Perfectly possible. The V of the new key is always a strong way to establish the new key
Of course you can also do a "segue" modulation via that F natch.
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In other words, you can do anything you like, there is no particular reason to always move through a harmonic world in any exact fashion, what is important is that everything is musical, whatever that means. This video is a fine example of one way to proceed and nothing I have said here is new to you nor of too much importance, I imagine.
Hi,can we see more about chromatic harmony,modulation?
We have some videos on the subject but there will be more to come.
I am curious what are the strategies for modulation if you can't play chords, say you are writing for solo wind instruments.
Any melodic line will imply chords so it’s always good to think about melody in terms of implied harmony
And yet, Sir: the II, as a pivot chord, after the V - would be more euphonious. Don’t you think?
It can work to use II of the new key but it all depends on the context
The music theory courses I took drew a (fuzzy) distinction between *tonicization* and *modulation*. Part of the distinction relies on the *strength* of the cadence in the new key -- here, all the cadences are what I was taught to label imperfect authentic, so not the strongest type of cadence. Another part of the distinction relates to the context: a tonicization would be fleeting and within a phrase, whereas a modulation would typically continue beyond a single phrase. These might just be American conventions, but I wondered if you had some thoughts about when a move to a new key "feels" permanent vs transitory?
Interesting reflections. A modulation occurs when there is a pivot (chord or note), then the new key is established, often with a cadence. Sure some cadences are stronger than others but that doesn’t necessarily affect the modulation. Fleeting hints of a key, as opposed to modulation, often come about through devices such as Secondary Dominant. That is really the difference between tonicization and modulation.
Remember that this is just the opening. Whether these are "real modulations" or simply tonicizations depends on how you would continue the piece. It would be quite easy to go back to C major after all of these openings, but it would also be easy to continue the piece in the new key.
But yes, the difference between tonicization and modulation is about how permanent the change is.
Absolutely
@@MaggaraMarine I agree, but my question has to do with how a composer signals "this is a new key where we're going to hang out for a while" vs "don't get comfortable here." In sonata form, composers often include an extensive modulating bridge between the 1st and 2nd themes, even if a 2-bar secondary dominant --> cadence would be enough to suggest the key change coming. Perhaps this is to show off some compositional chops, but I think partially it's to make it clear to the listener that we're no kidding modulating to a new key. One of my profs suggested that moving through a complete phrase model (tonic --> predominant --> dominant --> tonic) with a strong cadence at the end is one approach to firmly establishing a new key.
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Question for you, why does Bach work so well when interpreted as jazz or rock?
His harmony was so ahead of his time and his counterpoint so brilliantly improvisatory in nature that it lends itself.
Wouldn’t you say the first chord of the second measure in each instance is a secondary dominant?
D major to G in the first instance
C major to F in the second instance
and
E major to A minor in the third instance?
I ask because you use it consistently, and it works in every instance
The essential question is does it function as a secondary dominant by continuing in the original key or is it used as the point of modulation?
@@MusicMattersGB I would ask, does a secondary dominant require a preceding pivot chord? Can't secondary dominants just be inserted when desired to land on a new tonic?
You don’t need a pivot chord before a Secondary Dominant
I think I get it. Does this work with all the keys other than C? By modulating with dominant, subdominant or relative minor I mean. Or is this for certain keys only?
This works for all keys
Is there any reason you have used a pivot chord in the Beginning of the second bar sir? (Subdominant modulation).
In the first example the pivot chord comes at the end of bar 1. The first chord of the second bar is in the new key.
In A minor, can't one use the C chord as the G and C both move a half step in contrary motion to E before a? What about C/G going to G#dim to a?
That’s a perfectly decent progression
Can someone explain why you can't go from C to A using the first chord of C? I didn't quite understand the explanation.
Moving to A major involves C# and chord I in C contains C natural.
do we come back to C in the same way ?
You can do.
In exercise 3, did you double the major third on purpose?
There’s no double major 3rd in exercise 3
@@MusicMattersGB beat 4 double a in an F major chord.
In that chord I’m treating the C in the melody as an accented passing note. That means that the following D is the chord note. So the chord is II in first inversion. II is a minor chord and A is the 5th of that chord.
@@MusicMattersGB Ahh okay I saw it as chord 4 with a passing note. My mistake. Didn't pay attention properly.
It’s not really a mistake as it’s another of looking at it.
There is only two ways. Up or down. There you go.
There are many more possibilities as you can modulate up or down between 12 different major keys and 12 different minor keys.
Great set-up, but not everyone here is a strong piano player. Why not use basic chords to demonstrate what you meant to teach.
We take different approaches between videos because different musicians prefer different approaches to chord identification.
The third example: Sub dominant chord AFTER dominant (the first measure) does not sound very well. Sorry.
Some people are averse to the V IV progression while others use it frequently. Personal thing.
@@MusicMattersGB thank you! 🎶
😀
You look a bit pale, mate. Are you alright? :(
All well thanks. Intentional weight loss.
@@MusicMattersGB Alrighty! Thanks for the amazing video as always :D
A pleasure
You've gotten a lot skinnier, haven't you? Are you okay?
I’m fine thanks. Intentional weight loss. Thanks for your concern
@@MusicMattersGB Glad to hear it.
😀