When You Can't Stop MODULATING... 

THX Nico! That's so nice to hear! :D

HA ALRIGHT! :DDD

T H X

Great mentality, thats it.

@@brunokalil142 absolutely! Also a love and desire for something and following that purpose will lead to a great mentality.

pour in love and labour and then it comes to you all by itself

​@@en-blanc-et-noir I'll hang this quote to my wall. Very wise and it was what I needed.

haha cheers

THX Roberto!!!

THX Borna! Have you been trolled by Kompositorium? :DDD Dude...

@@en-blanc-et-noir Just a little bit.. 😁😂

Have you checked this one, yet? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cfZ2ndZSTw8.html it explains exactly the procedure I use in this piece! Modulation is a reoccuring topic on several videos on the channel, although it is not mentioned in the individual title explicitely. I made as well this one that tackles ‚modulation per sequence’ in baroque and romantic stylez (2nd half of the video) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vP46sN7tL3s.html in general I‘d tend to refuse to summarize romantic modulation in a single video, this is a huge and diverse topic. But of course it is a good idea… thx for watching :)

Many thanks and you got me: Suzanne, you‘re 100 percent right, this is absolutely inspired by the concept of a baroque style cadence parcours… I guess this is what you are referring to, right?

@@en-blanc-et-noir Yes! And I can thank you for teaching it to me through your Corelli video!

Many thanks... and YES! it is of course a dim 7th

Lol, I'll register that as compliment haha, well, isn't a youtube channel with all the examples played much more instructive? But I understand what you mean: with so much information spread it'd actually good to have some sort of archive that stores and orders it. Good books on improv are actually very rare... the only one I can recommend is the "Compendium Improvisation" by Schwenkreis et. al. (strictly baroque though) - this is a really good one and I'm happy to have it in the shelf. Cheers

@en-blanc-et-noir nice! Haven't heard of that one, so I'll check it out. Are you not a fan of John Mortensens' work? I only ask because that's the one book on classical improv I own and I find it very practical, so I'd love to hear some cautionary words on it if you have any

"The numbers Mason, what do they mean??" Jokes aside, those numbers are figured bass. If you are in C major and the (2) chord has the number 6, then you play D note plus a 6th from D which is B. Some numbers are usually omitted for simplicity, like the 3th and 5th in a dominant 7th chord, but you can play them.

🥳

yo! These are not chord numbers in the sense of roman numerals. It is a different system: the numbers indicate real scale degrees (e.g. 6 in b minor would be the note g), the additional numbers indicate the figured bass. This way of labeling chords was well established in the 18th and 19th century. Since roughly 20 years now it received a revival in the historically informed theory scene. It is linked to a historical concept of chord grammar that‘s usually referred to as ‚Rule of the Octave… it seems like the concept gains more and more popularity because of its practical aspects

That means that this is a 7th chord :D how about that? :D It's just local bass degrees + figured bass related to local key

@@en-blanc-et-noir ohhhh well that makes sense... Thank you! I thought it got to be something different because the way you explained it was so unintuitive for me haha.

This is what I am wanting to learn. I am intrigued.

Yeah man, isn’t a #6 the same as a b7 🤔

@@kidwolfman technically yes. Another example: a #9 is also a b3. The case of playing Dom 7 with a #9 you would have a b3 and a 3 in the chord, and the #9 makes more sense because it is an altered chord.

@@kidwolfman #6 implies an augmented sixth chord, which function differently to a dominant seventh

@@JonathanSWorsley aggiungo un corollario: #6 risolve salendo, b7 risolve scendendo. Almeno nei casi standard.