To return find a pivot chord ie a chord common to the key you’re leaving and the key you’re joining. If there isn’t a pivot chord available pass through another key/ other keys on the way.
I laughed out loud on your comment, "We'll get there sometime this side of Christmas." Another wonderfully clear explanation of something I didn't know existed. Thank you!
I’m glad it’s helpful. There’s much more at www.mmcourses.co.uk including 24 online courses, an opportunity to join Music Matters Maestros and one to one Skype teaching. Have a look.
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Thank you! 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.
That’s great. 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.
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.
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.
Thank you so much! That is very useful. It seems such a modulation will always land one on the key of the neapolitan 2nd of the original key? Nice sonic change. Not as predictable. Thank you again.
So it’s like V7/bII or bVI7 with the enharmonic re-naming. Interesting. Listen to Oh! Darling by The Beatles and there’s an F7 chord in the key of A major 🙏🏼
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F&#K! I've studied music deeply for like, 20 years, and I've never came across one of your videos...this was amazing!!! Just to leave a bit feedback, I'm a jazz piano player, but I'm a Beethoven's fan. I'm reading one of the most awesome books; "Anguish & Triumph" by Jan Swafford, it's a B biography. And B used this concept of "German Sixth" in his compositions. Nowdays, in worldwide Jazz Schools, they teach this and give it a fancy name and tell you to improvise on it. But it's just blah blah blah since it's an old trick. Thankyou! Kind regards from Uruguay ;) I'm sure my music writing will be positively affected by this video.
Hi sir thats a wonderful technique for modulation and i think i heard lots of song ending using that exact technique to add colours for the final cadence. But i still don't understand how we got that F# notes after A#, the augmented 6th of C. at 2:14 .
There is no clear answer to your question in terms of origin but they were originally called these names based on national stereotypes. Thanks for your positive comment. Much more at www.mmcourses.co.uk
Do you have to restate the chord and enharmonically rename the note in order to modulate, or can you state the chord just the one time written as an augmented sixth then go straight to the new key, as it sounds equivalent?
Sir: Would it be possible to list the notes of the Chords starting from the C Major Chord to the German Augmented Sixth Chord to the bD Major Chord. Please take a second and if possible list them.Yours, R
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.
Hi Gareth! I was hoping you could help me please! Regarding this topic, I was wondering how you would "smoothly convert" ie "write out" a German 6th chord in one key to the dominant seventh of the corresponding flattened supertonic major key? For example, in an examination, I may be asked to begin a short phrase with a C major chord and finish with a D flat major chord, and I must use the German 6th of C major in my phrase. When I have tried to write this progression, ie C major > German 6th of C > D flat major, I find that although the progression sounds OK, on paper I find that my voice leading is not smooth. In your opinion, is it OK to write the following skeletal progression - C major > German 6th of C > Dominant seventh of D flat major > D flat major - even though the second and the third chord are aurally the same? Thanks for your thoughts, and cheers! Pavvi 😃
@@MusicMattersGB Hey Gareth! Sorry, I have just one more comment/question relating to the modulation using the German 6th - I have a problem reconciling the fact that if I write the F# to Gb in the same voice, I would have an interval of a diminished second. Is it OK to have this “dissonant” interval in the same voice in a chromatic exercise? (I am guessing that in a chromatic exercise, reflecting Impressionism/Modernism, it would be acceptable). On the other hand, am I best to rearrange the note voicing of the dominant 7th chord (containing the Gb) to eliminate the apparent awkwardness of the diminished second interval? Hope that makes sense…! Cheers! Pavvi
@pavvi3000 It’s not an awkward or dissonant interval because it’s an enharmonic change ie it looks different but sounds the same. It actually smooths the transition when maintained in the same part.
Hmmm. So watching this and Neapolitan back to back, they're both modulating to the bII chord. If it's not in your side panel you might want to find that now. Neapolitan uses inverted bII functioning as the new inverted I German 6th uses bVI 7 functioning as the new V 7 I come from a somewhat patchy background and fakebooks, so I don't believe in augmented 6th intervals exactly, but that's just a point of view. X-D
Augmented 6th intervals are a musical fact and are much used. The Neapolitan and Augmented 6th chords are chromatic chords so they colour a key rather than modulating to another key.
It’s possible to use any of the augmented 6th chords to modulate but the German 6th has a particular quality in that one can treat it enharmonically as a dominant 7th in another key.
Well, once there is the presence of an F# or Gb it is inevitable the gravity of that tone wanting to resolve so to me the German 6 is a dominant in essence, not?
Absolutely. If it’s Ab C Eb Gb it’s V7 in Db major; if it’s Ab C Eb F# it’s a German 6th in C. Both chords need to resolve but will resolve in different ways.
Well explained! I think this is a overly complicated concept, though (not by you but in the classical tradition). I like the jazz way better - it's simply a tritone substitution for a dominant chord, most commonly for a V of V... 😀
it has more to do with SCALE DEGREE. Yes jazz player will alter the loc b4 to dominant or augmented ( omit the 5th) it's playing it as Maj7 or min7.. I personally play A lydian b3 ( G# phy b4)..it's has a 5th. I could play it as dominant or min7....aside from aug or dim half or full. The German now is G#/Ab Maj7 Lets do Ab MAJOR/F min....which on the bottom of circle of 5th. or could play C Hungarian min ( aka double harmonic min) Ab lyd #2, #6 have you hard of C Hangarian MAJOR ( E Harmonic min b5) it'll over lap if you use the n6 or N6 after the A min Bb7.....C7 into F melodic min or F min or F Major Once in F Min....you could simply play F min G7 back into C MAJ... It'll over lap with F lydian b3.....Mix b2 C Harmonic MAJOR You could also play A min B7 into E MAJOR ( E Harmonic MAJOR or A dim C dim into C# min/E MAJOR..... you can apply the other n6... D dim E dim into F minor :-P ... or C# min D7 E7 into A min or A MAJOR C# min D maj7 E7 F# min /A MAJOR Notice the C Maj to C# min ???? :-P A min Bb dim.....C dim into C # min.. F min F# dim G# dim into A melodic min ( Back to A min/C MAJOR) They work together. It's just easier for me to see it on the fretboard. I can modulate to any key...from C MAJOR/Amin Notice G# Min7.... The N6 A min Bbdim into B MAJOR/G# min ( Ab min) A min Bb7 into Eb7 into Ab min/B MAJOR
@@MusicMattersGB I took your advice the other day..i didnt understood exaclty what you ment. I knew you wanted me to see the VII as possible Maj or Maj7...not dominant , dim or augmented ( which i already knew) My Brain works a certain way or it's from learning modes.. and see the fretboard certain ways I had to go back sort see it in modes ( so I can apply it to other chords/keys later on.) This video clear it up for me...Just more options for me to modulate different ways. Other wise i wouldnt had....Thanks.
Exactly right. It’s kind of crazy how jazz and classical musicians seem to be at a disconnect around this shared concept and I agree, the jazz description is more simple and functional. Perhaps the classical spelling shows the strength of the voice leading more graphically.
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Im still trying to understand this , i think a book i read about it only got me confused , they derived this chord from a dominant 6/5 then a dominant 6/5 with a nine , then they took the fundamental out … i mean¿? What i want to know is how is this chord related or where is it coming from ? Why is the augmented 6 not augmented from the fundamental ? I mean the one thats being augmented is related as sixth of the sixth of the fundamental isnt it ? how ? ( sorry the long text and my English)
The way you originally experienced it seems unhelpful. People explain it in different ways eg as a corruption of IVb but I explain it this way because I think it’s the easiest way to grasp the construction. The fundamental is of course present in the chord. The augmented 6th happens above the lowest note of the chord. The important thing is to know how to construct it then to appreciate it as a pre Dominant.
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The reason for the explanation is to try and make it clear which notes are needed in any given key. It’s often explained in a much more complicated way. Probably worth watching again because once you’ve grasped the recipe you’ll be away.
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Music Matters
How do you return Back from modulation to tje original key. Which key to flatten.
To return find a pivot chord ie a chord common to the key you’re leaving and the key you’re joining. If there isn’t a pivot chord available pass through another key/ other keys on the way.
I laughed out loud on your comment, "We'll get there sometime this side of Christmas." Another wonderfully clear explanation of something I didn't know existed. Thank you!
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aaaand there's what i'll be doing at the piano this afternoon. bloody excellent!
Glad it’s useful. See www.mmcourses.co.uk
More colleges could use you as their Professor!!
Thank you!!
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These videos are absolute gold, keep up the amazing work. I've learned so much just in a few days!
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Love your channel! I'm a guitarist but I always regretted never learning piano first!! Gonna try this out on guitar and see what magic I can find!
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Jumping between you and Rick Beato's channel is a gold mine for diving into music theory 👍😃👍
That’s great.
Behind Gareth's urbane avuncularity is a very intelligent and gifted teacher. German 6th ! Off to the piano now!!
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I play guitar but this is fast becoming my favourite channel! ❤️🏆
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It's like combining a diminished triad built off the tonic with a major triad built off the minor 6..sounds great.
That’s more like the dominant 7th of the flattened supertonic key which is certainly effective.
A brilliant concept, thank you sir.
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This honestly blew my mind. I love music theory
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Thank you sir, very helpful lesson
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These videos are terrific, thank you!
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Thank you so much! That is very useful. It seems such a modulation will always land one on the key of the neapolitan 2nd of the original key? Nice sonic change. Not as predictable. Thank you again.
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This channel is a wonderful find! ❤
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Thank you sir. This is something very new o learnt today.
It’s a wonderful chord to use in order to add colour. Best wishes.
So it’s like V7/bII or bVI7 with the enharmonic re-naming. Interesting. Listen to Oh! Darling by The Beatles and there’s an F7 chord in the key of A major 🙏🏼
In A major F7 is an enharmonic equivalent of a German 6th. In relation to A major it functions as a German 6th
@@MusicMattersGB Thank you 🙏🏼
😀Much more at www.mmcourses.co.uk
Another sensational video! Thanks!
Many thanks. Lots more at www.mmcourses.co.uk
Excellent explanation as usual.
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F&#K! I've studied music deeply for like, 20 years, and I've never came across one of your videos...this was amazing!!! Just to leave a bit feedback, I'm a jazz piano player, but I'm a Beethoven's fan. I'm reading one of the most awesome books; "Anguish & Triumph" by Jan Swafford, it's a B biography. And B used this concept of "German Sixth" in his compositions. Nowdays, in worldwide Jazz Schools, they teach this and give it a fancy name and tell you to improvise on it. But it's just blah blah blah since it's an old trick. Thankyou! Kind regards from Uruguay ;) I'm sure my music writing will be positively affected by this video.
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Thank you, maestro!
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Very well explained!
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Gosh I have to get my head around this... but very useful (so long as I remember it..) Thank you.
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theory is great . thank you
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Hi sir thats a wonderful technique for modulation and i think i heard lots of song ending using that exact technique to add colours for the final cadence. But i still don't understand how we got that F# notes after A#, the augmented 6th of C. at 2:14 .
Ohh its a Ab ! i'm sorry i have mistaken
😀
Thank you kindly🤍
😀😀
Oh yea cant wait to try this chord out
It’s great for adding colour to harmony.
Thank you
Thanks for your support.
Good explanation!!
Thank you.
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thanks
Thanks for your support
The augmented 6 chords are pre-cadential chords used as the most unstable of the Subdominant group that proceed the dominant or K6/4
They don’t have to be used as pre-cadential chords but they often are.
Thanx, Maestro 🌹🌹🌹
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This is an excellent lecture. Please why is it called the German 6th, was it invented in Germany?
There is no clear answer to your question in terms of origin but they were originally called these names based on national stereotypes. Thanks for your positive comment. Much more at www.mmcourses.co.uk
Very interesting. Thank you.
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Gareth, you do say such funny things hehe "I'm tiddling along in C Major" Now I am PML!! hehe
😀😀
excellent!
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Do you have to restate the chord and enharmonically rename the note in order to modulate, or can you state the chord just the one time written as an augmented sixth then go straight to the new key, as it sounds equivalent?
You don’t have to re sound the chord.
Sir: Would it be possible to list the notes of the Chords starting from the C Major Chord to the German Augmented Sixth Chord to the bD Major Chord. Please take a second and if possible list them.Yours, R
The German 6th in C Major is AbCEbF#.
Great video thank you. At 5 minutes you say the German 6th usually goes to 1 C 5. 1 C means the tonic?
lc is the tonic chord in second inversion.
Music Matters
Thanks!
I don’t understand why you would transpose to the relative minor key as it’s the same as the root key? But great video thank you
The key signature is the same but there’s a shift between the relative major and minor tonality.
uah! grandioso, bravo maestro! 🐻👍👍👍💫💥💫
😀
Fantastic
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Hi Gareth! I was hoping you could help me please! Regarding this topic, I was wondering how you would "smoothly convert" ie "write out" a German 6th chord in one key to the dominant seventh of the corresponding flattened supertonic major key? For example, in an examination, I may be asked to begin a short phrase with a C major chord and finish with a D flat major chord, and I must use the German 6th of C major in my phrase. When I have tried to write this progression, ie C major > German 6th of C > D flat major, I find that although the progression sounds OK, on paper I find that my voice leading is not smooth. In your opinion, is it OK to write the following skeletal progression - C major > German 6th of C > Dominant seventh of D flat major > D flat major - even though the second and the third chord are aurally the same? Thanks for your thoughts, and cheers! Pavvi 😃
Absolutely. Just use F# in the German 6th then Gb in the V7 of Db.
@@MusicMattersGB Thanks for that!
😀
@@MusicMattersGB Hey Gareth! Sorry, I have just one more comment/question relating to the modulation using the German 6th - I have a problem reconciling the fact that if I write the F# to Gb in the same voice, I would have an interval of a diminished second. Is it OK to have this “dissonant” interval in the same voice in a chromatic exercise? (I am guessing that in a chromatic exercise, reflecting Impressionism/Modernism, it would be acceptable). On the other hand, am I best to rearrange the note voicing of the dominant 7th chord (containing the Gb) to eliminate the apparent awkwardness of the diminished second interval? Hope that makes sense…!
Cheers! Pavvi
@pavvi3000 It’s not an awkward or dissonant interval because it’s an enharmonic change ie it looks different but sounds the same. It actually smooths the transition when maintained in the same part.
I played this all the time, but I did not know what it is called or the theory of this.
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Hmmm. So watching this and Neapolitan back to back, they're both modulating to the bII chord. If it's not in your side panel you might want to find that now.
Neapolitan uses inverted bII functioning as the new inverted I
German 6th uses bVI 7 functioning as the new V 7
I come from a somewhat patchy background and fakebooks, so I don't believe in augmented 6th intervals exactly, but that's just a point of view. X-D
Augmented 6th intervals are a musical fact and are much used. The Neapolitan and Augmented 6th chords are chromatic chords so they colour a key rather than modulating to another key.
Does this method only work with the German 6th? Do other 6th chords enable modulation?
It’s possible to use any of the augmented 6th chords to modulate but the German 6th has a particular quality in that one can treat it enharmonically as a dominant 7th in another key.
Well, once there is the presence of an F# or Gb it is inevitable the gravity of that tone wanting to resolve so to me the German 6 is a dominant in essence, not?
Absolutely. If it’s Ab C Eb Gb it’s V7 in Db major; if it’s Ab C Eb F# it’s a German 6th in C. Both chords need to resolve but will resolve in different ways.
Well explained! I think this is a overly complicated concept, though (not by you but in the classical tradition). I like the jazz way better - it's simply a tritone substitution for a dominant chord, most commonly for a V of V... 😀
it has more to do with SCALE DEGREE.
Yes jazz player will alter the loc b4 to dominant or augmented ( omit the 5th)
it's playing it as Maj7 or min7..
I personally play A lydian b3 ( G# phy b4)..it's has a 5th.
I could play it as dominant or min7....aside from aug or dim half or full.
The German now is G#/Ab Maj7
Lets do Ab MAJOR/F min....which on the bottom of circle of 5th.
or could play C Hungarian min ( aka double harmonic min)
Ab lyd #2, #6
have you hard of C Hangarian MAJOR ( E Harmonic min b5)
it'll over lap if you use the n6 or N6 after the A min
Bb7.....C7 into F melodic min or F min or F Major
Once in F Min....you could simply play F min G7 back into C MAJ...
It'll over lap with F lydian b3.....Mix b2 C Harmonic MAJOR
You could also play A min B7 into E MAJOR ( E Harmonic MAJOR
or A dim C dim into C# min/E MAJOR.....
you can apply the other n6...
D dim E dim into F minor :-P ...
or
C# min D7 E7 into A min or A MAJOR
C# min D maj7 E7 F# min /A MAJOR
Notice the C Maj to C# min ???? :-P
A min Bb dim.....C dim into C # min..
F min F# dim G# dim into A melodic min ( Back to A min/C MAJOR)
They work together.
It's just easier for me to see it on the fretboard.
I can modulate to any key...from C MAJOR/Amin
Notice G# Min7....
The N6
A min Bbdim into B MAJOR/G# min ( Ab min)
A min Bb7 into Eb7 into Ab min/B MAJOR
There are certainly different routes to the same place.
@@MusicMattersGB I took your advice the other day..i didnt understood exaclty what you ment. I knew you wanted me to see the VII as possible Maj or Maj7...not dominant , dim or augmented ( which i already knew)
My Brain works a certain way or it's from learning modes..
and see the fretboard certain ways
I had to go back sort see it in modes ( so I can apply it to other chords/keys later on.)
This video clear it up for me...Just more options for me to modulate
different ways. Other wise i wouldnt had....Thanks.
Exactly right. It’s kind of crazy how jazz and classical musicians seem to be at a disconnect around this shared concept and I agree, the jazz description is more simple and functional. Perhaps the classical spelling shows the strength of the voice leading more graphically.
😀
Awesome
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So the notes are similar to the submediant, but the theory is different?
Not entirely but you can relate the notes to variants of the submediant
What if the song is in minor key? How can we use the German 6th?
Absolutely
I still don't get how to use it though
Tell us what’s not clear and we will try to explain. The video demonstrates what the chord is and how to use it to change key.
@@MusicMattersGB Nevermind sir
Im still trying to understand this , i think a book i read about it only got me confused , they derived this chord from a dominant 6/5 then a dominant 6/5 with a nine , then they took the fundamental out … i mean¿?
What i want to know is how is this chord related or where is it coming from ?
Why is the augmented 6 not augmented from the fundamental ? I mean the one thats being augmented is related as sixth of the sixth of the fundamental isnt it ? how ?
( sorry the long text and my English)
The way you originally experienced it seems unhelpful. People explain it in different ways eg as a corruption of IVb but I explain it this way because I think it’s the easiest way to grasp the construction. The fundamental is of course present in the chord. The augmented 6th happens above the lowest note of the chord. The important thing is to know how to construct it then to appreciate it as a pre Dominant.
@@MusicMattersGB great ! I think i got it now , thanks for taking the time to answer, i really appreciate it!
Blessings!
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I love your videos. Lovely style.
When you played the German 6th chord I immediately thought V7 but a semitone up.
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The German 6th is great because it can transform enharmonically to a V7
Can the German/italian/ French only be in C?
You can use them in any key, major or minor.
@@MusicMattersGB then in that sense, in the key of E major, is it C♭ /E/A# ?
@marcusn4814 C natural A# E
what exactly do you mean by "Ic-V-I"?
Ic is chord I in second inversion. V then I in root position
@@MusicMattersGB thanks
😀
whats 1c chord?
Chord l in second inversion
I find it a bit complicated. I wish it could be explained in an easier way
The reason for the explanation is to try and make it clear which notes are needed in any given key. It’s often explained in a much more complicated way. Probably worth watching again because once you’ve grasped the recipe you’ll be away.
@@MusicMattersGB Sure Sir. I will try time and again to comprehend this
😀