How to Change Key with One Note - Music Theory

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This music theory lesson explains how to effect radical modulation by using just a single note. By using a single pivot note, rather than a pivot chord, it is possible to modulate to distant keys without making the music sound strange. We work through an example together in which, in the space of a small number of bars, we modulate from F major to Db major to A major. This is an incredibly useful trick for composers to learn and for analysts to discover.
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🕘 Timestamps
0:00 - Introduction to how to change key with one note
0:20 - Playing the piece
0:32 - Key scheme
1:17 - Pivot chords
4:23 - Explaining the process
5:45 - Enharmonic conversions
7:43 - Tips for use
8:15 - Conclusion
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Опубликовано:

23 июл 2024

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Комментарии : 122

@MusicMattersGB 2 года назад

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

@jayducharme Год назад

That was like watching a magic trick. It's amazing how well it works, and it's so seamless.

@MusicMattersGB Год назад

It opens up all sorts of possibilities.

@CarlosMartinez-gr1rp Год назад

I like that you are explaining the things at a more reasonable pace for advanced students :)

@MusicMattersGB Год назад

😀

@bigpicturehero Год назад

Neat little trick. I like how it doesn't really minimize the disruptions of the key changes, just puts a pedal point under them. The tension is interesting and potentially powerful.

@MusicMattersGB Год назад

It certainly opens up more colourful options

@davidwhite2949 Год назад

Respelling the enharmonic. I like that. Opens up all kinds of modulation possibilities

@MusicMattersGB Год назад

Indeed

@martenw8341 Год назад

Awesome video! As a lover of Bruckners symphonies these modulations reminds me so much of his themes

@MusicMattersGB Год назад

Absolutely re Bruckner.

@jayagopi1 Год назад

Absolutely marvelous video on pivot note and how to use it. Thanks for sharing 👍😊

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@jondellar Год назад

Fascinating as always. Thank you! 😊

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@simongross3122 Год назад

Thanks, that is really interesting. I think the other reason it works, other than the pivot note, is the smooth voice leading in most of the other parts. I love the idea of going through unrelated keys very quickly but still smoothly.

@MusicMattersGB Год назад

It opens up lots of options

@tomwawer5714 Год назад

I just asked a question and I got an answer here haha. Thanks a lot!

@bettyennin6335 Год назад

Thank you sir. Awesome teaching as usual. God bless you

@MusicMattersGB Год назад

You’re most kind. Bless you too.

@monicaconsigliereLavieenfleur Год назад

Fantastic music theory teacher. Thanks

@5966ramesh Год назад

Brilliant. Thank you 🙏sir. Something very new ...Very adventurous.

@MusicMattersGB Год назад

A pleasure. Glad it’s helpful.

@norakat Год назад

Thanks bud. Happy Thanksgiving! 🦃🍁

@MusicMattersGB Год назад

And you!

@jeffkelly8624 Год назад

It must be a coincidence, but it seems like every time I check in here, your videos follow my Berklee Music and Theory classes. This week, guess what were on? That's right modulation and pivot chords. Spot on mate, another great video.

@MusicMattersGB Год назад

Excellent. Pure coincidence! Glad it’s helpful.

@llewelluynzepper6741 Год назад

I love it. Thanks.

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@ericmirza9497 Год назад

Very informative

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@josephinebrown6631 Год назад

Thank you kindly🤍

@MusicMattersGB Год назад

A pleasure

@luiginomarchetto309 Год назад

I think my question would make for a great video!

@MusicMattersGB Год назад

What’s your question?

@in.stereo Год назад

Awesome 👏 ❤

@MusicMattersGB Год назад

😀

@luisfmoreno Год назад

You make everything seems so easy 😅❤.

@MusicMattersGB Год назад

It’s just years of doing it.

@BrianKlobyGuitar Год назад

Interesting.. thank you :)

@MusicMattersGB Год назад

That’s most kind. Much more at www.mmcourses.co.uk

@GuitSiva Год назад

Thanks.. 👍🙏

@MusicMattersGB Год назад

A pleasure

@cocique Год назад

thanks!!

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@lawrencetaylor4101 Год назад

This is above my pay grade, and I'm trying to get above just plunking the piano. This is motivating for me to keep learning. But it also shows me how much more I have to learn. Oh well, back to the basics.

@MusicMattersGB Год назад

That’s great. Keep going. Much more to help you at www.mmcourses.co.uk

@Raffael-Tausend Год назад

I always really like the Modulation to the flat submediant!

@MusicMattersGB Год назад

It works really well

@sega62s Год назад

Merci!

@MusicMattersGB Год назад

A pleasure! Thank you very much for your generosity and support for the channel!

@PlayitonPan Год назад

🔥🎶 Major thirds modulation sequence 😎 F, D♭, A 💫 (edit: counter-clockwise 🔄, ‘descending’ Major thirds, although ‘ascending’ minor sixths works 🙌🏾)

@MusicMattersGB Год назад

Which note are you repeating in that sequence?

@glyncraig5796 Год назад

Pop music is full of pivot note modulations . A good example is Patsy Cline's "Crazy" .It modulates from 2 flats to 7 flats via Gb 7th with pivot note Bb

@MusicMattersGB Год назад

Absolutely

@PijanitsaVode Год назад

All tasty and surprising. One would thing that besides the pivot note condition, you'd normally have a rather continuous or 4th, 5th relation in the bass - not the case with the bold bass leap at the beginning of bar 3. Colours!

@MusicMattersGB Год назад

😀

@starbean2196 Год назад

I'm a retired person who is fulfilling a lifelong dream in starting to learn how to play the piano! Your videos are very inspiring, and you explain everything so clearly, and I'm learning so much from you. This may be too basic a question for you to answer, but could you possibly do a video on correct posture at the piano. I'm thinking of where your arms should be held, how far from the piano, how high/low you should be, and I'm sure many other things. Or maye you've already done one and could point me in the right direction. Many thanks.

@MusicMattersGB Год назад

Thanks, that’s very kind. We do talk a little bit about that in lesson one of our piano videos that can be found here. ru-vid.com/group/PL5j5H06QkhxEU67uectx3JqD2ElOe2IQY

@starbean2196 Год назад

@@MusicMattersGB Thanks, I'll check it out.

@MusicMattersGB Год назад

😀

@caesargreco7115 Год назад

I want to learn exactly what you did from 1:47 - 3:04. That's so COOL. I just get confused when I ponder over why it's like that. I know cadences and stuff but when I examine romantic music (Chopin, Liszt, Rachmaninoff, etc.), it seems like they break free a lot of the time from the conventional harmony. Of course, they still use cadences and stuff, but I just feel like I'm always missing the theory that explains how they think of their musical ideas, with their own nuances tied into it all. I dont know how to explain it, but I just want to know how to use all of the complex chords and stuff :(((. I guess an example would be Op. 9 No. 2 by Chopin. Such a simple melody with beautiful chords that work so well together like jam and buttered scones. Helppp

@MusicMattersGB Год назад

It’s all about understanding chromatic chords and extension chords, and understanding how more dramatic modulation comes about.

@PijanitsaVode Год назад

Both involve changing, from the top note, a m3d to a M3d. The top note having function 1 (or elsewhere, 5). Frequent in jazz reharmonization.

@MusicMattersGB Год назад

😀

@pjny123 Год назад

Brilliant as always! My only question is what would the next to last chord be called? If we're now in the key of A major, would it be a chord 4 (a D chord with the F# flattened and a sixth added?). Or would it be somehow built on the 2nd degree and in 3rd inversion, again with a flattened f#? Clearly I need to go back and review your theory course! Thanks so much for these wonderful videos.

@MusicMattersGB Год назад

I would label it II7 in first inversion borrowed from the parallel minor key

@MusicMattersGB Год назад

I would label it II7 in first inversion borrowed from the parallel minor key

@haroldpurvis9111 Год назад

@@MusicMattersGB why in first inversion please? Is it not ii7 in root position?

@MusicMattersGB Год назад

The chord is BDFA so that’s II7. With D in the bass it’s in first inversion.

@gabrielfigueiredo4372 Год назад

But can II7-I be considered a cadence? Is it some sort of plagal cadence? And from the parallel minor? Very interesting sound! How does it work?

@johnerskine8367 Год назад

Does it matter that the method of modulation results (or so it seems) in parallel octaves in the alto and bass of the third to fourth chords - or is the idea that in this more adventurously Romantic style parallels are nothing to worry about?

@MusicMattersGB Год назад

I’ve put that in to raise the very question you have. Of course the convention is to avoid parallels but the Romantics do sometimes use them in these contexts, especially when passages are orchestrated

@stephenbashforth8257 Год назад

Hi Gareth, would use of 7th chords avoid parallel 5ths around the pivot note? the chord sequence then being: F C7 Dm7 Db7 Ab7 Bbmin A/E D Dmin A? meaning the alto voice has F(minim) E (crotchet) C (crotchet) Bnatural (minim) C (crotchet) Bb (crotchet) A (minim), A (minim) A (semibreve)? with the F# of the D maj chord being in the soprano voice?

@MusicMattersGB Год назад

That’s a possible solution.

@stephenbashforth8257 Год назад

The Db maj chord - should there be an Ab in the chord? rather that a voicing of 2 Dbs and 2 Fs?

@MusicMattersGB Год назад

There could be an Ab but it would have resulted in blatant consecutive 5ths.

@tomwawer5714 Год назад

Thank you for great content! A pedal note can be such a harmonization note so I can use all scales contains this note - am I right or it’s oversimplication?

@MusicMattersGB Год назад

A pedal note might fit the chord or not.

@tomwawer5714 Год назад

Ah I see thank you!

@tomwawer5714 Год назад

So I should change pedal note when I modulate using pivot chord or pivot note this is so interesting!!

@MusicMattersGB Год назад

That’s one option OR the same pedal point might work in the new key. All depends on the circumstances and on what sounds best

@martinbennett2228 Год назад

Isn't the second bar more Bb minor than Db major? The descent of an augmented 4th in the bass to the 3rd bar looks a bit awkward. Could you use an A7 chord and thereby continuing the bass pattern? I really like the flattened fifth inverted II7 (or is it a minor IV6 chord?) to A major ending. Can that count as a cadence? Lots to think about - thank you.

@MusicMattersGB Год назад

The second bar is really Db because of the Ab in the Dominant chord. You could rewrite it with A natural in that chord to make it a diminished 7th in Bb minor if you prefer that for the key at that point. At the end it’s really a borrowed II7 first inversion from A minor.

@martinbennett2228 Год назад

@@MusicMattersGB The ending really does feel like a cadence, but a bit like a plagal cadence going into a Picardy tierce. I really like it. I see your point about the Ab (not in the harmonic minor scale) , but it is followed by a Bb minor chord, allowing a chromatic shift into A. The way you present it makes it look as if the harmonisation is easy, though I know it is not.

@MusicMattersGB Год назад

Absolutely re the final cadence. It’s really a Plagal Cadence

@alfonsomaribona Год назад

Brilliant lesson as always. But, one question: the parallel octaves between bass and alto (fourth beat bar 1 to first beat bar two) wouldn’t be a problem here?

@MusicMattersGB Год назад

Well spotted!

@alandraalexandria6526 Год назад

Hello, I wanna ask. Can I learn music theory just with this playlist? Are your videos in order to learn? Bcs I'm confused where to learn theory. I can't afford music course :((

@MusicMattersGB Год назад

All our RU-vid videos are one-off videos. The structured A-Z courses are available at www.mmcourses.co.uk

@stephenbashforth8257 Год назад

A second question - it may be my reading of the handwritten score - but the last crotchet beat of bar 3: are the notes D F A and Bnatural? or should the B be a D natural? is the chord a Dmin chord or a Dmin6 chord?

@MusicMattersGB Год назад

The notes are DFAB. It’s a borrowed II7b from the parallel minor (A minor).

@omeldoid Год назад

What’s so great about it is that to me it feels both as Dmin6 (so a IV maj to iv min to I maj) and as a Bmin7b5 to I maj

@MusicMattersGB Год назад

Yes. It offers interesting musical options.

@byronmahoney6403 Год назад

Would love to hear what happens from d-flat to c-sharp when using (extended) meantone - i.e. not enharmonic but probably more interesting 😂

@MusicMattersGB Год назад

😀

@isaacshaw1596 Год назад

Is that a minor 4 before the last chord in A major over the dominant?

@MusicMattersGB Год назад

It’s really a minor II7 first inversion

@isaacshaw1596 Год назад

@@MusicMattersGB Wouldn't think you would write that way because it isn't a conventional cadence. I know a lot people write like that but you seemed to write a lot more conventional type music if that makes sense.

@MusicMattersGB Год назад

The II7 is of course very close to IV as II7 is effectively IV plus the note B. So it’s not as radical as it might appear

@alvaromorenoacosta1518 Год назад

5:25

@MusicMattersGB Год назад

😀

@luiginomarchetto309 Год назад

I noticed that the D harmonic minor scale has a Bb and a C#. So my question is, why not Db, instead of C#?

@MusicMattersGB Год назад

Ah. This is your question. Each scale has one of each letter name so D minor starts with one of each letter:- DEFGABCD From there we add flats and sharps but we can’t have a scale that ends up with two different kinds of D while C is absent so we end up with C# and D natural

@luiginomarchetto309 Год назад

@@MusicMattersGB Thank you.

@MusicMattersGB Год назад

A pleasure. Much more at www.mmcourses.co.uk

@davidwhite2949 Год назад

Even though these modulations are to remote keys, they sound good. Sort of jazzy

@MusicMattersGB Год назад

Absolutely. An invitation to be adventurous

@Dave-nm8uk Год назад

Interesting. However choirs and string instruments can sing or play with different temperaments, so for choral or string music is the clever trick of using enharmonic substitution appropriate there too? My guess is "yes", but some purists may not like the use of such enharmonic "equivalence".

@MusicMattersGB Год назад

That’s an issue certainly but in reality every key change presents that problem. A string player will be in a very slightly different position when playing Db from playing C# but they manage modulation and enharmonic change accordingly.

@ekoi1995 Год назад

Ah it's like directly modulating starting from a minor chord to a major chord just a semi-tone below it.

@MusicMattersGB Год назад

😀

@glyncraig5796 Год назад

The late Charlie Parker (aka Bird) reportedly said "There is no such thing as a discord , only context and resolution " .Probably true at least for bebop !

@MusicMattersGB Год назад

There’s a lot of truth in that.

@RichardMooreMusic59 Год назад

Please end on a F# chord!😁

@MusicMattersGB Год назад

😀

@PijanitsaVode Год назад

Your jingle has a quirk. Can I describe it in a personal message?

@MusicMattersGB Год назад

😀

@gregmasters55 Год назад

Oops! Consecutive octaves! 😉

@MusicMattersGB Год назад

Well spotted!

@superblondeDotOrg Год назад

06:50 Fascinating technique. A good writing exercise to revisit. ..but I wonder what it would look like in figured bass notation. The graphics in this video look very good. Much better than white board and markers.

@MusicMattersGB Год назад

Glad you enjoyed it. It could be written in figured bass notation