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This is simply CAPITAL! This is what we need! I love how you lead us to use both our ears and basic theory skills, in a kind of pincer movement tactics, to feel and understand the stuctural meaning of the piece. Which is wonderfully written, too. Bravo, and thank you! 😀
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This was well explained, thank you. Nothing I didn't understand from the theory. The hard part is hearing the modulations and making sense of the music.
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Great lesson. I, too, saw the second measure as ii - V/V - V. The Eb on the first beat of measure 3 behaving as a pivot chord taking you directly into Ab. That's part of the fun of music analysis -- sometimes there is more than one way to describe what's going on. Thanks!
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Thank you Gareth! I heard the first modulation but didn't identify it and felt lost/unsure on the second modulation. Good piece for ear training. Nicely written etude(?): very smooth.
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This is so interesting! Your modulations mimic a chord progression! I - V - IV - I - vi - I just not with chords, instead with keys! I have never thought about it like that! This gives the music a kind of second layer. So cool! Thank you!
Top-dollar amazing video Gareth…! Love everything about this and Music Matters…! Please can there be more of these for practise…! Maybe it could be a new course…?!?!? 😊
Okay. Will bear that in mind. Glad you’re finding our resources useful. Have a good look through the courses and the Maestros programme at www.mmcourses.co.uk
Indeed, a full course on Gareth's more composer focused insights on modulation would be so very useful, its not a topic that has been discussed very often on youtube except for the usual jazz move or two.As always great work Gareth, you are a fountain of useful knowledge. Thanks
@@MusicMattersGB I'm preparing my financial life to join Maestros, the suspension is this morning at my lesson with my teacher, I'm resolved to playing several of your pieces you composed with simple counterpoint exercises. I'll let you know soon.
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Beautifully done! Now if only I can find your video on suspensions! Thanks - as always - for the cogent explanation and for making harmonic analysis accessible!!
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@@MusicMattersGB Thank you for your reply. What I said is what it is . I’m a trombonist and a ethnomusicologist and I was taught classically as a child and went on to study and play Jazz and other genres but I still listen to western ‘classical’ music every day especially J.S.Bach who remains my favourite composer for obvious and not so obvious reasons !
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That whole first half was all still in Eb. The Bb and the Ab were just functioning as Dominants and Subdominants. The A natural just facilitated a secondary dominant to make a V/V-V-I back to the Eb tonic. The Db was just a bit of mixolydian modal mixture. The phrase functions in Eb still, especially as it starts and ends with an Eb chord
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Amazing vid! It's a ton of work when you have all four voices to work with. I wonder if you'd have any advice for singers, like me, who usually get the score page with only your voice, and you still need to get the modulation right, even if you don't have all accidentals, only with the horizontal context available. Books like Ottman's sight singing material will often present the melody only, and you have to figure it out. I am scouring the internet after advice on this, but I can't find any. Thanks a lot in advance.
It’s very useful to be able to see what’s going on in the rest of the score. The only alternative is to develop your aural skills so you can hear it. See our Aural Dictation course at www.mmcourses.co.uk that teaches those skills.
Thank you Gareth! I can hear the modulation easily but i wouldn’t be able to identify to what key it is modulated to just by hearing (apart from to minor or major). I remember worrying about ABRSM G8 aural test years ago. The examiner was kindly gave me sort of easier questions at the time but would pianists hear and identify the key, AND what inversion it is by listening twice??
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My favourite key changes occur in Helene Fischer's "Unser Tag" (written by the American: Christopher Applegate). It is just a rising sequence of notes. But it is quite extensive, and I think there are only two actual key changes. But it is worth reminding onesself just how brilliant Helene Fischer used to be.
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A pleasure. I think the 7th bar simply has chords slightly lower in the register with notes fairly close together, which gives it that slightly darker quality.
Some people feel that some keys are brighter or darker than others but I agree that in a world of equal temperament there is an equality, although it’s worth bearing in mind that many string, wind & brass players and singers will say that their intonation makes slight adjustments between enharmonic equivalents / degrees within a scale.
The A nat and F Maj chord in measure 2 sounds like a V of V in Eb, not a modulation to Bb. And that is reinforced as V of V when the Eb comes back in beat 1 of measure 3. A key change generally requires more than a single accidental to become aurally apparent.
@@MusicMattersGB Not sure I understand your point. There is a difference between the use of a secondary dominant and an actual key change. In fact I hear only 1 key change achieved in your example, that being the change to Cm.
Hello, could the V - I in Bb major (in the second bar) also be interpreted as a secondary dominant with the Bb major chord being part of the tonic key and the F major being part of C major? It seems to meet the criteria but I might be mistaken! Thanks
it's just weird sometimes...it's even more weird that I comprehend it.lmao But Im still going see/hear everything still remaining in EbMaj/C Min as the parent KEY..and never made any keys changes. Alot of it is also ...it'll be easier for site readers...if Im just inserting chords. I'll see the Db maj as the n6 of C min. I don't have a problem seeing/playing the D Maj to G min. G min is sort of like an inverted Ebmaj7. It's easier if I explain it in C MAJOR/Amin Im used to playing A lyd b3 over the vi chord..it'll simply create a B7 chord ( mix b2)....it use be E Harmonic MAJOR... but Im also used to playing/using the CYCLE of dominant. To me it's just B Maj into E ( MAJOR or min) Im also used to altering the IV chord into min. it's just SOUNDS to me. C Maj7 into F min. It's going down in 4th.. Im also used to inserting the b6 chord degree as a Maj7. It's NOT COMMON...but I've hear it used in 4-5 different songs. So...I came to an understanding. b2.....b3.......b5........b6.......b7 as ANY TYPE of CHORDS. The easiest way to explain it. (if you havnt study or learn all the scales/modes) PASSING or OPTION NOTE/CHORDS.lol I personally use lyd #6, lyd #5, #6 , lyd #2, #6 or Ion #6 as a GUIDE to VAMP over any of those chords Most people see that as loc b4...loc b4, bb7 or lyd #2, 5 The lyd #2, #5 is just from C Harmonic MAJOR aeo b1 (WEIRD) converted it to lyd #2, #5 so it;ll just be B Maj...maj7 or B7 into E min. E min is sort of inverted C Maj7. The n6 chord to the Relative minor...You're just going to play it by ear.. becuase people use variations of it in the same song during bridge. Use as Baby come back ..by the players. It'll use the n6 chord of relative minor....as a PIVOT chord ( act like a V chord) to sort of do a cycle down to the 4th... but it's just the b3 chord degree of the MAJOR scale to me.lol The original is in Eb Major/C min during the bridge Db Maj to Gb Maj...chord Then simply play Gb maj...Ab Maj....Bb Maj ....to Eb Maj chord to start the riff again.
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Absolutely. It’s a secondary dominant but it forms a cadence in Bb major at the end of that phrase, so it qualifies as a modulation because it’s cadenced in Bb.
Is there a reason I'm not aware of that my teacher would be giving me modulation exercises I'm supposed to practice daily and memorize if at least half of this is over my head at this point? There's usually a reason to what he gives me that I figure out down the line but I have about 100 different modulation exercises to memorize and not sure why.
Is it possible to feel what is coming next without having to know the theory of it all? Every morning before I get out of bed I put in Radio 3 and I wait for the modulation and play my guitar but I suppose I am not ahead because I am hearing and behind of course behind alll the time. Have I got an ear?
You’ve definitely got an ear if you can hear and feel modulation. You don’t have to know the theory but theoretical grasp is often helpful in order to understand what’s happening.
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Great lecture, thank You very much. What kind of modulation is this in bar two. I don't see a pivot chord, or is f the pivot tone, or is it a direct modulation (Rückung in German) without pivot chord or note? And is bar three an evasion (Ausweichung)?
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