All hail the Mighty Algorithm! Always there to ensure that content creators make the videos they didn't really want to make, for an audience that didn't ask for it. Ask a comment section what videos they'd like to see, and they'll say that they most enjoy the ones that the content creator clearly enjoyed making - where their passion is apparent and their presentation genuine. An audience actually likes some variety, which the Algorithm punishes. They like videos where the content creator has clearly taken their time to make something really good - no, can't be having that, publish every day or your ratings will instantly die. Human ingenuity. Always finding a way to masochistically automate our own misery.
More of a signature chord than a modulation, but I'd love to watch you talk in depth about bVI7, (Ab/C/Eb/Gb in C or Cm) which is such a cool and versatile chord. In classical music, of course you'd spell it differently as a German Augmented 6th (with F# instead of Gb) and typically resolve to V. Used as a chromatic mediant to travel between tonic and subdominant. (showcased in Starlight by The Supermen Lovers as I7-bVI7-iv) In jazz, you can use it as a tritone substitution for ii. As a modulation (Chorus 2 to bridge in Re: Your Brains by Jonathan Coulton is a nice example) it's a very natural but striking choice of destination.
Uniconverter has a really bad website. It's hard to find where to actually download it. And I can't even find anywhere how much it costs after the free trial.
Totally agree! I started listening to Radiohead after hearing a clip of paranoid android in one of his videos and they became my most listened-to artist of last year
Seems madness to block someone for providing free advertising. Perhaps just an admin issue, the algorithms recognise the recording and automate the process, otherwise they’d need to watch every RU-vid video flagged. Hopefully some forward looking record label find a solution because currently it’s effectively a block on the artist themselves.
Label people unfortunately don't generally think that way. They are mostly accountants and lawyers and what they see is a "product" the company invested in by hiring artists who could actually create something. Now owned by the company, they want to be paid for any use. They don't understand free publicity.
I got into Radiohead specifically because of David’s videos (and others) and they’re one of my favorite bands of all time (and I got my dad into their music).
6:53 nightwish uses a lot of 3 semitones modulation, mostly in the last chorus of their songs. My favorite example is Ever Dream, that does it similar as Living on a Prayer. It starts in Gm and ends in Bbm. But the transition is so cool because it uses the F as the changing pont. The usual chorus ends with F making a backdoor resolution to Gm, but when it modulates, the resolution is a nice V-I to Bbm. This 3 semitone modulation repears is Sleeping Sun, Nemo, Élan, 7 days to the wolver. You can find 5 semitons modulations in Come cover me, While your lips are still red and Hows the heart. By the way, great vid
Ghost Love Score is another good example. It switches between Dm and Fm in the intro, then the 12/8 section after the interlude switches between Gm and Bbm
Nightwish uses this 3 semitones modulation in almost every song. When I first read the title of the video they crossed my mind right away. Love them ❤️
When Paul McCartney re-recorded "Silly Love Songs" in 1984 for the "Give my regards to Broad Street" movie, he added this key change for the instrumental break, going from C major to Eb major, then going back to C major in the singing part
As a nipper, mucking about trying to write music, I stumbled upon the minor 3rd key change just through experimentation, and thought it sounded like the 'best' possible key change to add energy, and honestly I stand by that. What I feel gives it its edge is a combination of feeling like its reaching just that little bit further than the 2nd, and the modal mixture texture of grabbing the minor 3rd instead of the major. It's also really easy to write a melodic pattern to walk up to the new key centre if your line usually starts and ends on the tonic, and you can have fun inserting an extra bar or shorter bar to accommodate that lead-in.
Another well known example of the minor third upward modulation is „To be with you“ by Mr Big. My most classic minor third downward modulations („chromatic mediant“) is the Chorus of Whitney’s „Didn‘t we almost have it all“ (down to G from B-flat). And I loved the „Skaterboy“-Example. Even though I am a great Avril fan - I had never actively „recognized“ that there is a key change in the chorus!
ZZ Top's La Grange another example. The song is in A major and the guitar solo in C, which really makes it pop out after the laid back riffage of the song.
My college music theory professor used the term "Chromatic Third Modulation." His example was the Chicago song "You're the Inspiration." As a fan of Chicago, I feel this type of key change is most reminiscent of the 80s ballads, as is referenced by the 80s ballad parody "Lost in the Woods" from Frozen II.
You’re Going To Lose That Girl goes from E major in the verse to G major in the bridge. And at the end of the bridge I love the way John gets us back to E. He doesn’t do anything fancy; he just does it
The minor third key change between C and A (and sometimes A minor) is all through the Abbey Road medley, not just in Something. It comes back later in Free As A Bird, thanks to George's inspired guitar solo.
In penny lane, the chorus(except for the last one of course) is down a whole tone from the verse, but it still sounds so good and natural. Why is this?
I feel like in music the concept of entropy works completely backwards. You can shift back and forth between two states and *gain* energy every time...
I like key changes in music, they really change the feeling and emotion on every part. I applied this minor third key change on my Future Bounce track "Expedition" before knowing about minor third changes and stuff, and it indeed gave it more energy. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pTgH0h1HXDE.htmlsi=ARu9xEAJoM6d1NGx
That 'here there and everywhere' track isn't in G major, it's in F# or G flat major. I have perfect pitch and it drove me slightly insane because the modulation key shown on the score is a semitone higher than what you actually hear. Funny nobody's noticed this.
xd. I can’t believe you didn’t put Funkytown by lipps inc in this vid. Lol. That song starts off in C major then modulates to E flat major at the chorus.
01:11 (Sk8r Boi) What is an "A5" chord? I thought chord symbols imply the 5th and it's specified only if it's modified (eg #5) or omitted altogether (omit5)?
Your Chromatic Mediant video received a copyright strike from Radiohead’s label despite you using cover versions? Blimey. You only used a few seconds and your use of it for analysis couldn’t be more clearly allowed under ‘Fair Use’ law. What a set of absolute arseholes!
Strikes me as a variation of the doo-wop changes (I-vi-IV-V). While iii and vi only share one note, they each share two notes with the tonic. Thus iii and vi can function similarly in each four-bar progression, both being a move away from the tonic with a closely related, diatonic minor chord. The 3rd scale degree being the common note between iii and vi also solidifies the chords’ similarities, because the note helps lead to the IV.
Ayyy that's me 2:25 😳. You better lawyer up David, because I'm not coming back for 30%, I'm coming back for eeeveryyythiiing. Jk, great vid. I'm offended you didn't use my "Duel of the Fates" acapella too however.
As someone who has been such a champion of Radiohead's music over the years, it really is fucking shortsighted of their record label to take down your video.
While my Guitar moves from A minor to A major. It never goes to C major. But this is why those 1 and 1/2 tone modulations work so well. The relative minor is a minor third apart. So going from let’s say C major to A major is like going to a relative mode but switching to major instead of the expected minor. Two moves in one, but smoothly.
One you may know from classical music is Peter's theme from "Peter and the Wolf" by Sergei Prokofiev. The chords of the first four bars are Cmaj Cmaj A♭maj7(♯9) E♭maj. That third chord is, by itself, a small masterclass. It's a chromatic mediant chord with two common tones and a borrowed tone from the original key, which makes the modulation from C major to E♭ major sound weird but seamless.
It's funny how each and every inspiring music theory topic has at least one the Beatles example... 🙃 Btw Iron Maiden's Aces High has this minor 3th move in the chorus section where they go from Em to Gm...
I always point to the late key change in “Livin’ On a Prayer” whenever a friend asks me what I’m talking about (when I bring up key changes in popular songs). Almost every time, that example paints the picture so well, even when whomever I’m talking to has little background in music theory. Until I saw this video, though, I didn’t realize it’s that subtle “dropped” 4th beat in the bar immediately preceding the key change that REALLY drives the impact of the key change. I love this channel. I always learn something, every visit here.
Yeah, when he mentioned that brief 3/4 time signature change right before the modulation I thought "Yeah that really lifted that key change a ton". I gotta remember that.
My Heart Will Go On I believe shifts up a minor 3rd after the flute solo. Celine crashing into the key change with those high notes really kicks the song into high gear. Very effective.
Close, but it's actually a major third (from C sharp minor to F minor) Although that's technically a diminished fourth instead of a major third, it's still easier to see it as a major third. Still a great example for a surprising key change.
@@SamStormsKBD That's understandable why one might think it's wrong, since intervals like the unison, fourth, fifth and octave are usually accompanied by "perfect", so there's no major or minor distinction. They can only be "augmented" or "diminished". In that specific example, it's entirely possible to interpret that interval as a diminished fourth, because the base interval between the two notes (without any alterations like sharps or flats) is a fourth (between C and F), but with the C sharpened, it becomes "diminished". However, a diminished fourth and a major third sound the same, so it's generally easier to refer to this interval as a major third. I hope this is understandable enough. :)
Another good example is "New Kid in Town" by Eagles, both up and down a minor third for the middle verse and chorus. The downward key change from G back to E caught me completely off guard the first time I heard it, love that song.
One of the best songs ever written! In fact, I once told a young lady who hadn't heard "Hotel California" that the first 3 songs just might be the finest 15 minutes in all of "🎶"
“Entangled” by Genesis has one of the most striking examples of a minor third modulation - both in the main body of the song (B minor to G# minor) and in the keyboard solo at the end (G# minor back to B minor).
Citing Genesis on a video about inventive key changes or time signatures is cheating. If something can be validly done in music, they probably did it brilliantly.
11:19 - interesting how in your voiceover you say "Key of G# Major" but in the slide the transcription notates it as Ab Major. They share an enharmonic identity. Why the difference between the script and the slide?
Technically B to A-flat is an augmented second, rather than a minor third, so a modulation from B to A-flat technically doesn't match the "minor third" theme of the video. They sound the same (on a piano) but are spelled differently. But it would look silly to notate the transcription in G# Major as it has 8 sharps on the 7 notes (including F-double-sharp). Maybe he should've said it modulates from C-flat to A-flat major :)
Great Video! I really appreciate that you gave many examples without lacking of a theoretical explanation at the end. And that you showed how it would have sounded if the song had stayed in the key 👍
I've studied quite a few Alan Menken's songs before and I noticed this modulation of a minor third pattern many types. It was only lately that it occurred to me the reason: a minor 3rd is the difference between the major tonic and it's relative minor tonic. So going up a minor third is equivalent to "majorization" of the scale and going down a minor third is identical to "minorization" of the scale. Like you explained, the usage of the picardy third for this modulations is what helped me realize this. I've also used this technique in my last song, where I modulated up a minor third for the bridge.
One of my favorite of your great videos. This is one I didn't know before! I wonder if Paul knew the theory behind this or was it just instinct? Or did George Martin recommend? Very interesting!
Thank you! And yeah I do wonder how Paul came to write that modulation! I wonder even if there chorus and verse sort of started as different songs and then we’re stitched together maybe! Although I also know that Here, There and Everywhere was sort of inspired by older American songbook songs like “Cheek to Cheek” and it was quite common to key change when you change section in those songs.
@@DavidBennettPiano I just read that Paul wrote it all pretty much in one sitting - so probably not songs stitched together. And I will go with instinct over theory. :)
McCartney is the most successful and most covered* songwriter in the entire history of planet earth, and yet people seen to constantly question whether or not he knew what he was doing (but they don't ask the same questions about other successful songwriters). Bizarre. *By an absolute country mile, by the way.
@@peterfitton4529 Nobody is questioning Paul's musical greatness. The question was - did he know the theory behind this? I'd wager he didn't as The Beatles never bothered learning much theory. I'm sure it was just inspiration for him.
@@antoniomarine1567 By 1966 McCartney had been writing songs for at least 10 years and had been a professional musician for around 6 years. During that time he had learned his craft, as pro musicians invariably do, as much by osmosis from other musicians as anything. I'm perfectly sure that by that stage he knew perfectly well what shifting the key of a song up by a minor 3rd was all about.
YOU FORGOT ONE SWEET DAY BY MARIAH CAREY AND BOYS II MEN!!!!! The song changes from G Sharp to B and ends beautifully on a E Major Seventh... Anyways I think music theory is stupid which is why I refuse to master it and just do music naturally, and music theory has dumb names. Minor 3rd is a stupid name for G to B Flat, etc. Also, I never liked called a frequency a letter. I remember when I was 6 years old, referring to the Key of B.... Sally
David, I've seen that statistic about how modern music doesn't use modulation as much, but what kind of key changes are they usually talking about? I noticed in the past that it was a cliche to change the key in the final verse (Livin on a Prayer, Hello, I Love You, et cetera). Is that typically what that stat means when it comes to modulation?
Another reason why moving up a minor 3rd (for example G major -> Bb major) is more subtle than moving up a whole tone (G major -> A major) is because Bb major is the relative major of G minor, which is the parallel minor of G major. In other words, it's very similar to transposing from G major -> G minor.
The old inconspicuous pop song „Neverending Story“ changes keys back and forth around 10 times, using minor and major 3rds: C - Eb - G - Bb ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TvGyWQgEql0.html
The Last Resort by Eagles modulates up from E to G during the interlude before the last few verses. It brings more stress on Don Henley’s voice as he finishes his analysis of American excess.
damn, this is epic. i accidentally modulated my song here, but i don't mind it. modulation has always been scary for me, i never understood how it was done effectively and learning new chord scales felt intimidating. it's always held me back in my compositions, but i'm surprised to find out how familiar the chords and notes are. feels nice to finally understand after ages of banging my head against a wall.
i just realized this is pretty much equivalent of resolving a major key to its parallel minor (A major to C major can also be thought of as A major to A minor) (edit): but A minor and C major are used differently even though they're technically the same key (both A minor and C major have a 0 flats/0 sharps key signature)
You forgot "Telstar" by The Tornados and, my favourite, "Lightning Strikes" by Yes, interestingly only uses briefly key changes which makes it sound even more interesting. Why don't talk about Yes more often? They use a lot av interesting music theory.
I feel there's a difference between going up a minor 3rd from 1. verse to chorus (or bridge) than 2. from verse to verse or chorus to chorus. In 1, they complement each other and it's imo beautiful song writing. 2. It's all about the boost of energy.
Nice topic for a video! I've just about had it with the mindless overused up-by-semitone modulation at the end of a song, so it's good to be reminded that other modulations get used with some frequency!
but what are the ways to change to third minor key? So far i observe that that you have to be in 5th of the new key as transition chords. Or use ii-V-I technique to get to the new key. or tritone chords of the new key (just like Something of Beatles)
Williams uses the minor (and even major) third chord relationships almost as a signature in his music. For me it's definitely one of the things it sounds so good and yet so not-mainstream.
Was glad to see Living On Prayer here - the greatest key change in modern pop music ever. To the ear it does sound its shifting down two whole tones - because the preceding chord being a D. You think the dominant will to resolve to G (or Em) but it jumps to Bb... I wonder who actually came up with it...I guess Jon Bon Jovi was trying to do a whole step modulation but they found it worked even better to go up a third...I've looked but cant find any interviews on the subject of the actual song...
What's going on in Bucks Fizz's "Land of Make Believe"? There's a key change after each chorus that feels like dropping down, but the initial keychange that raises it in the first place is smoothly worked in somewhere I have yet to identify when it happens.
I dont often watch the ad break, but I liked your style of editing and the way you showed the changes. I wanted to "reward" you with watching it ^^ tbf I was in the kitchen until it was over, but I wanted to give you the watchtime ^^. great work!
Something about your channel always make me think I'm just listening 'wrong' somehow. Lining up all your examples and saying 'these are all examples of X' and then my pleb ear tells me 'these are completely unrelated noises'. Holy smokes, I may actually, literally, be tone deaf.
Brian Wilson pulls out the surprise minor 3rd chord change on "2 girls for every boy" on "Surf City", which he co-wrote with Jan Berry for Jan and Dean.
I really enjoy your channel. I'm confused on this one. Stacy's Mom. The key change to my ear is to a "C" major. which is not a 3rd up. It doesn't sound like it changes to G major at all. What am i missing. (I also play this song in my band and the change is to a C. Help me understand. Thank you.
I remember when I first reallyyy got into theory a few years ago and wrote a song that modulated from Am/Cmaj to Ebmaj through an enharmonic dim7 chord and I swearrrrr I thought I was the smartest person in the world for a few seconds until I realized it’s super common actually 😭🤣💔
Maybe I'm just boring, but I like the versions without the key changes better. Hear me out. If your melody and the lyrics are engaging, you don't need the key changes. In many cases, key changes simply hide uninteresting music.
This is the Whole New World key change for me. When Menken uses it it's an amazing kick into high gear. It's a common tone key change. If you're in C^ and you go to Eb^ then a G is a fifth in C, but the third in Eb. Very dynamic.
Great explanations, David. - The first time I noticed such an "elevator" effect was in "The Neverending Story" by Limahl. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Gf1WT8VEZxk.html The harmonic change by a minor third up brings so much freshness into the song.
I was waiting with baited breath for you to mention "New kid in town" by The Eagles which begins in E Major and then modulates up to G Major but then goes back down to E major and presents brand new harmonic material in the Coda back in the original key.
Having trouble figuring out what chord progression my song is does anyone know it's E7 E7/D C A like what numbers are the chords and is it used in any other songs
I loathe this technique. I loathe nearly all key changes that simply repeat the same part at a higher key. Boring. It doesn't add energy for me, it drags the energy out. Makes it thin. Changing the key without repeating the same part is a great technique though. Skater boi, is a good example of that.
