A lot of people generally dislike music theory, but in my humble opinion it's something really magical and you just know how to explain it all so perfectly.
You'll find this effect somewhere near the very end of Bruckner's Symphony No. 1. Though the work is in C minor, he sets up one's ears to expect a cadence on the tonic now in C major, instead we get the tonic note C harmonized over the lowered submediant. It's a dramatic effect. He then goes on to finish the symphony in C major.
it is interesting to note that in a major key context, a flatted submediant tone, despite having subdominant connotations, can actually stabilize a major tonality by pointing directly to the dominant. Also, in a very interesting sense the note is not an accidental in the scale, any more than the raised leading tone in a minor tonality is, which we already take for granted as belonging to a minor key despite not being in the signature. From a major scale, the major and minor keys three and four signatures flatward, and the major keys three and four signatures sharpward can be considered as directly related. They do not require an intermediary in the process of passing from one to the other. Keys two signatures apart by definition cannot be related as they are contradictory to one another in nature. Keys whose tonics are a major second apart cancel each other out and cannot be related, and the dominant of a key, particularly of a major key, must be major.
Hi, that's a very good explanation. Please make this video public, it´s too good no to present it a broader public. May I ask if you could make a video on how to control the contrasting effect of modulation? A modulation could be harsh, very obviously or maybe very subtle. In a masters hand like you, every kind of modulation sounds perfect, but in students hand, a modulation often sounds prominent or harsh even it's technical done in the right way.
Thank you for the explanation. It sounds like knowing the common chords in the chord progression of the two keys is a good start. Would you say that the change can be made smoother by (1) adding dynamics of lowering the volume of the key one is leaving, (2) maybe a rest note or rest measure, (3) repeating the common chord, and (4) increasing the dynamics by raising the volume of the key one is entering?
Lots of food for musical thought in this video. I am impressed with the way queries in the comments are not ignored but answered with encouragement. Very uplifting for those who are uncertain. Many thanks and best wishes from New Zealand.
A good technic is using the pivot note to get some color before using it to modulate, because that prepares the ear for the modulation. Another one that has a similar effect is using a chromatic chord, like a secondary dominant or subdominant, that belongs to the scale to which you will modulate laterof, using the pivot note.
it helps if you know different scales . You can use the b2, b3, b5, b6, b7....NOTE or CHORD degree. Counting the MAJOR's TONIC...from C MAJOR ( the 5 BLACK Notes) Db, Eb, Gb, Ab, Bb...( I personally see MODES terms as INTERVALE identications ) You could use Lyd #6, Lyd #5, #6 or Lyd #2, #6...as GUIDES over any of those chord degree to modulate. ( In a NUT SHELL you could color/make whatever type of chords).. It's easier to start off with MAJOR or Maj7 chords at first...( Lyd #2. #6) will simply be a possible minor chord that is all.....You could play the Ab as minor. You could play C Maj or C7 into F min/AbMAJOR... It'll be as if you play C7 into F harmonic or melodic min...ect Then you'll simply see the Bb as dor b5 or dor #4..or lyd dominant to F melodic min. A min Bb dim C7 into F min or you could play A min Bb7 into Eb MAJOR or Eb min..then E7 into A min again. or you could play A min Bb7 into Eb MAJOR...then see the Ab as lyd b3 to Eb Harmonic MAJOR...then G7 into C MAJOR or C min. You could see the G7 as phyg dominant or phy b4....ect Those are just GUIDES...or REFERENCE Instead of playing Bb7 into Eb MAJOR....Play C Maj Ab min G7 into C MAJOR or you could see the Ab as Ab Aeolydian to B MAJOR C Maj Ab min Gb/F# into B Maj7 E Maj , E maj7 or E7 into A min or A maj7 Then the C# min....D7 or D dim ( whatever D) E7 into A minor) it'll make all the since in the world...If I play E maj7 into A Maj7 to Ab Minor/B MAJOR then simply see the A as Lyd #2. #6....ect to Ab min/B MAJOR then simply play A min D min G7 into C MAJOR. As I STATED....the b2, b3, b5, b6, b7.....chord degree could be alter to any type of chords or play A7 into D min G7 into C MAJOR or play A full dim ( C dim) into C# min..then D maj7 ( as the b7 chord degree to E MAJOR) use the D maj7 as pivot to B min..ect then E7 into A min....again if you wish. The E7 could be lydian dominant to B melodic minor..but just play it in an A chord. or you can see the D maj7 as D lydian....ished You could play it as Lydian #2, b7 or ( Mix #2, #4....aka Hungarian MAJOR) to F# harmonic min b5 ( in other worlds...play to A MAJOR/F# min then you'll simply see the D dim or min as Lyd b3 ( COMMON CHORDS) to A Harmonic MAJOR or A harmonic min.....as reference. If you see it in A MAJOR.....the G7 would simply be lyd ##6 to F# Harmonic min b2....ect I know it could be harder to play it on a keyboard..The more you apply it.. the easier it gets. WRITING/PLAYING becomes more enjoyable and EASIER. NoTATING it..for other people to READ it...could be a challenge.
@@MusicMattersGB Im not formally trained and I havnt gotten all the different terms nailed down, Ive just learn different scales, modes or CONCEPTS..such as using COMMON CHORDS...such as dim chord into a chord....example from C#min....it's C dim into C# min it could be G#7....but I know Harmonic MAJOR or Harmonic min 4th degree chord ( lyd b3 or Lyd #2 can be min or dim ) so it's G Maj or G min chord...( but it's b3 chord degree from E MAJOR) it's just G MAJOR or min....C dim into C#min. So Im going to use the E HARMONIC MAJOR..as a guide to play the A lyd b3 as A min....then C Maj7 ( b6 chord of E MAJOR) Then Im going use the C Maj7 chord to play into F Maj or F min chord. The b2 chord degree of E MAJOR...then simply play G Maj or G min....then C dim or G#7 into C # min... so the progression is E Maj A min C maj7 F Maj G min C dim into C# min or E Maj A min C Maj7 F Maj G min A min B7 into E MAJOR. once I play into the F Maj or F min..I have more options The b5 chord degree from E MAJOR ( Bb chord) F Maj Bb maj7 add #4 ( E note) or it's just different sounds..it'll all resolve back to E MAJOR E Maj A min C Maj F Maj7 Bb maj7 #11... F# min B7 into E MAJOR Just different ways to play back to the E MAJOR/C#min ( b7 chord degree of E MAJOR) I can even apply the D maj7 after the C# min D maj7 B min G min G#7 into C#min or D maj7 F# min B7 into E MAJOR
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 ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
this also works with the 3rd degree mediant, correct? a move from CMaj-> EbMaj (3 signatures removed) would work by way of a shared (G) note. C-E-G -> Eb-G-Bb. It could also work by moving to the dominant of CMaj (G7). I sometimes like to call these pivot notes "anchors", or my anchor note :) Thanks again!
@@MusicMattersGB I am in love with how gentle you explain these lessons and this is the reason why I have been watching every video of yours here. Will you adopt this music student? Greetings from México!
Thank you so much. That' s what I've been looking for. A very helpful exposition on mediant relationships. Quick question. Is it only applicable in Major keys? Is it possible to have submediant shift for an a-minor tonic chord and what would that be?
Great video, you're such an effective teacher! My question tho, isn't the Ab Major chord, when used in C Major, just like a borrowed chord from C Minor? I suppose that maybe that it's just another way to think about it. Thanks again!
That’s kind. That’s a perfectly reasonable way of looking at it. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hi Gareth amazing content as always....I was wondering if its posibble to modulate for example from C major to A flat lydian instead of major. Regards.
05:30 The example is straightforward because you are writing it first. What happens if you play and write the enharmonic note. If the example is B# as the pivot note. Then suddenly the explanation and the theory breaks down. Even though it is the same audible pitch.
@@eriknestaas2270 B# is not in the next chord. Therefore B# is "not" a pivot note to the next chord. That is where the given theory breaks down. That is why the given example could be called "a trivial example".
@@MusicMattersGB Yes, C works but you wrote it as C specifically, and the example "makes sense". If someone else wrote B# ..or the example is slightly off.. then.. the theory breaks, and without any backup theory to go by..
I was wondering what do you call that chord, whether it's a flattened submediant, a subdominant of the parallel key of Eb major or something else. I guess it would depend on how one looks at the function of the Ab chord, I sometimes even think of its variations as a dominant chord, a sort of inverted G7sus4b9.
Hey, so I'm trying to figure this out. So basically, I just take the submediant key, flatten it, and then play the same chord? For example, I'm playing a Dmaj7, so I take my submediant of B minor, flatten it into Bb, and then play Bbmaj7? Will the coloring chord always have the same notation? E.g. (X)maj7 will be (X-4flats)maj7, (X)7 will be (X-4flats)7, so on? Additionally, to use the circle of fifths, I can just move 4 flats down and play the corresponding chord and it works? Also, does this work for minor chords as well? Like, I have an Am9 I want to do a submediant shift for. I get that I can just move 4 flat down the circle of fifths to get to F minor so I can play Fm9 as a submediant shift, but why does this sort of work and F#m9 doesn't? By your rules, shouldn't it be F#m9 so we can use A as a minor third instead of Ab like Fm9 does? Is it the difference between the major and minor third?
All of that works. The submediant shift normally works better when you drop a major 3rd eg C major to Ab major; A minor to F minor. Also A minor and F minor have C in common so it functions as a pivot note.
I’m confused because it’s called the submediant shift (6th degree as you said), but you are using the flattened submediant in this example. So how is the submediant shit any different than modulating the relative minor? (As A Minor is the relative minor of C Major)
You’re correct. It’s the flattened submediant, as explained in the video. And that’s the difference because the relative minor is the unflattened submediant.
Hi Gareth.Im not taking any music theory exam but interested in composing music .How are the music theory courses you provide different than just reading the music theory practice books of ABRSM?? thanks
Hi. The books explain the facts in one dimension. The video courses do much more. The concepts are explained, you then watch while music is written, you then hear it being played with the keys lighting up on the screen. This makes a huge difference to the understanding and takes it from academic principles to musical reality. You may also enjoy our Composition course.
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 ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
MTV was the beginning of the dumbing down. Music started to get written to fit a video script, as key changes might require a change of scene in the video they became less common. I could of course be wrong, but that's just my thoughts on the matter.
@@GeorgeSPAMTindle Interesting perspective, I hadn’t given that any thought.. I’ll have to think about that one some more.. I don’t really remember the MTV era all that well; I was busy working at the time lol
Pivot note to bVI But bVI is not the submediant (VI is the submedient) so why would it be called submediant shift? 🤦♀️ Music theory is so dumb. Pivot note to VI could be called submediant shift I suppose but awkward to say bVI is also the same thing.
@@MusicMattersGB "Focus needs to be C acting as pivot" also implies that the C is on played on the strong beat (not mentioned in the video?), therefore, what happens if the C is on the weak beat.. or.. what happens if the C is only slightly off the strong beat (syncopated).. It is the edges of the theory which are rarely explained. At what point does the C stop being a pivot note and start being a suspension or other nonharmonic tone, etc, is never covered in theory.
The context of this move, as shown in the video, is that C must be a harmony note rather than a suspension or inessential note. The move could happen anywhere in the bar but is more likely to coincide with a beat.
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
A lot of people generally dislike music theory, but in my humble opinion it's something really magical and you just know how to explain it all so perfectly.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
You'll find this effect somewhere near the very end of Bruckner's Symphony No. 1. Though the work is in C minor, he sets up one's ears to expect a cadence on the tonic now in C major, instead we get the tonic note C harmonized over the lowered submediant. It's a dramatic effect. He then goes on to finish the symphony in C major.
Great example
it is interesting to note that in a major key context, a flatted submediant tone, despite having subdominant connotations, can actually stabilize a major tonality by pointing directly to the dominant. Also, in a very interesting sense the note is not an accidental in the scale, any more than the raised leading tone in a minor tonality is, which we already take for granted as belonging to a minor key despite not being in the signature.
From a major scale, the major and minor keys three and four signatures flatward, and the major keys three and four signatures sharpward can be considered as directly related. They do not require an intermediary in the process of passing from one to the other.
Keys two signatures apart by definition cannot be related as they are contradictory to one another in nature. Keys whose tonics are a major second apart cancel each other out and cannot be related, and the dominant of a key, particularly of a major key, must be major.
😀
Yes. Quite a dramatic change. Very effective. Thanks.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thanks Gareth , I’m going to try this with some simple tunes , it will be interesting to see what happens . Keep up the great work & stay safe .🎶
That’s most kind. You keep safe too. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
greatness
😀
Bravo.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hi, that's a very good explanation. Please make this video public, it´s too good no to present it a broader public.
May I ask if you could make a video on how to control the contrasting effect of modulation? A modulation could be harsh, very obviously or maybe very subtle. In a masters hand like you, every kind of modulation sounds perfect, but in students hand, a modulation often sounds prominent or harsh even it's technical done in the right way.
Ok. We will put that topic on the list. Thank you.
Thank you for the explanation. It sounds like knowing the common chords in the chord progression of the two keys is a good start. Would you say that the change can be made smoother by (1) adding dynamics of lowering the volume of the key one is leaving, (2) maybe a rest note or rest measure, (3) repeating the common chord, and (4) increasing the dynamics by raising the volume of the key one is entering?
The submediant is my favorite thing to play with
Excellent
This channel is all about musical knowledge ❤️🎶😘. Lucky to be part of this channel ❤️.
That’s most kind. Much more at www.mmcourses.co.uk
Very interesting! Thanks a lot.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Lots of food for musical thought in this video. I am impressed with the way queries in the comments are not ignored but answered with encouragement. Very uplifting for those who are uncertain. Many thanks and best wishes from New Zealand.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great video! Thanks for explaining this!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A good technic is using the pivot note to get some color before using it to modulate, because that prepares the ear for the modulation. Another one that has a similar effect is using a chromatic chord, like a secondary dominant or subdominant, that belongs to the scale to which you will modulate laterof, using the pivot note.
😀
your videos are amazing
That’s most kind. Much more at www.mmcourses.co.uk
You're a legend, thanks for those courses! Really does get my creativity going!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Excellent tutorial. Beautifully explained. Thank you very much sir.
Very kind. Happy new year to you.
@@MusicMattersGB Wish you and your wonderful family a very Happy and Healthy New year
😀
THANK YOU! So basically flatten the 3rd & sharp the 5th
That’s one way to think about it. Much more at www.mmcourses.co.uk
it helps if you know different scales . You can use the b2, b3, b5, b6, b7....NOTE or CHORD
degree. Counting the MAJOR's TONIC...from C MAJOR ( the 5 BLACK Notes)
Db, Eb, Gb, Ab, Bb...( I personally see MODES terms as INTERVALE identications )
You could use Lyd #6, Lyd #5, #6 or Lyd #2, #6...as GUIDES over any of those chord degree
to modulate. ( In a NUT SHELL you could color/make whatever type of chords)..
It's easier to start off with MAJOR or Maj7 chords at first...( Lyd #2. #6) will simply be a possible minor chord that is all.....You could play the Ab as minor.
You could play C Maj or C7 into F min/AbMAJOR...
It'll be as if you play C7 into F harmonic or melodic min...ect
Then you'll simply see the Bb as dor b5 or dor #4..or lyd dominant to F melodic min.
A min Bb dim C7 into F min
or you could play A min Bb7 into Eb MAJOR or Eb min..then E7 into A min again.
or you could play A min Bb7 into Eb MAJOR...then see the Ab as lyd b3
to Eb Harmonic MAJOR...then G7 into C MAJOR or C min.
You could see the G7 as phyg dominant or phy b4....ect
Those are just GUIDES...or REFERENCE
Instead of playing Bb7 into Eb MAJOR....Play C Maj Ab min G7 into C MAJOR
or you could see the Ab as Ab Aeolydian to B MAJOR
C Maj Ab min Gb/F# into B Maj7 E Maj , E maj7 or E7 into A min or A maj7
Then the C# min....D7 or D dim ( whatever D) E7 into A minor)
it'll make all the since in the world...If I play E maj7 into A Maj7 to
Ab Minor/B MAJOR
then simply see the A as Lyd #2. #6....ect to Ab min/B MAJOR
then simply play A min D min G7 into C MAJOR.
As I STATED....the b2, b3, b5, b6, b7.....chord degree could be alter to any type of
chords
or play A7 into D min G7 into C MAJOR
or play A full dim ( C dim) into C# min..then D maj7 ( as the b7 chord degree to E MAJOR)
use the D maj7 as pivot to B min..ect then E7 into A min....again if you wish.
The E7 could be lydian dominant to B melodic minor..but just play it in an A chord.
or you can see the D maj7 as D lydian....ished
You could play it as Lydian #2, b7 or ( Mix #2, #4....aka Hungarian MAJOR)
to F# harmonic min b5 ( in other worlds...play to A MAJOR/F# min
then you'll simply see the D dim or min as Lyd b3 ( COMMON CHORDS)
to A Harmonic MAJOR or A harmonic min.....as reference.
If you see it in A MAJOR.....the G7 would simply be lyd ##6
to F# Harmonic min b2....ect
I know it could be harder to play it on a keyboard..The more you apply it..
the easier it gets. WRITING/PLAYING becomes more enjoyable and EASIER.
NoTATING it..for other people to READ it...could be a challenge.
😀
@@MusicMattersGB Im not formally trained and I havnt gotten all the different terms nailed down, Ive just learn different scales, modes or CONCEPTS..such as using COMMON CHORDS...such as dim chord into a chord....example from C#min....it's C dim into C# min
it could be G#7....but I know Harmonic MAJOR or Harmonic min
4th degree chord ( lyd b3 or Lyd #2 can be min or dim )
so it's G Maj or G min chord...( but it's b3 chord degree from E MAJOR)
it's just G MAJOR or min....C dim into C#min.
So Im going to use the E HARMONIC MAJOR..as a guide to play
the A lyd b3 as A min....then C Maj7 ( b6 chord of E MAJOR)
Then Im going use the C Maj7 chord to play into F Maj or F min chord.
The b2 chord degree of E MAJOR...then simply play
G Maj or G min....then C dim or G#7 into C # min...
so the progression is
E Maj A min C maj7 F Maj G min C dim into C# min
or
E Maj A min C Maj7 F Maj G min A min B7 into E MAJOR.
once I play into the F Maj or F min..I have more options
The b5 chord degree from E MAJOR ( Bb chord)
F Maj Bb maj7 add #4 ( E note)
or
it's just different sounds..it'll all resolve back to E MAJOR
E Maj A min C Maj F Maj7 Bb maj7 #11... F# min B7 into E MAJOR
Just different ways to play back to the E MAJOR/C#min
( b7 chord degree of E MAJOR)
I can even apply the D maj7 after the C# min
D maj7 B min G min G#7 into C#min
or
D maj7 F# min B7 into E MAJOR
That’s great
Great video ❤️
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Excellent video as usual Gareth, I will definitely be using this technique in my future compositions. 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 ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank u!
Glad it’s helpful. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Excellent lesson as always.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
this also works with the 3rd degree mediant, correct? a move from CMaj-> EbMaj (3 signatures removed) would work by way of a shared (G) note. C-E-G -> Eb-G-Bb. It could also work by moving to the dominant of CMaj (G7).
I sometimes like to call these pivot notes "anchors", or my anchor note :)
Thanks again!
Absolutely correct
Brilliant teacher, thorough explanations, worth supporting. Can you post some of your compositions ?
Most kind. Ok. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Just discovered your channel. You have a great way of explaining things
That’s most kind. Much more at www.mmcourses.co.uk
Well... if you think about it
😀
@@MusicMattersGB I am in love with how gentle you explain these lessons and this is the reason why I have been watching every video of yours here. Will you adopt this music student? Greetings from México!
That’s most kind. Much more at www.mmcourses.co.uk
pure gold! :) thank you very much Sir
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Using a random pivot note as we can create minor chord ???!! Please tell me sirrrr🙏🎶
You can indeed create a minor chord using any random note.
Thank you very much! Love this channel!
A pleasure. Much more at www.mmcourses.co.uk
Thank you so much. That' s what I've been looking for. A very helpful exposition on mediant relationships. Quick question. Is it only applicable in Major keys? Is it possible to have submediant shift for an a-minor tonic chord and what would that be?
A pleasure. It works just as well in minor keys. In A minor the submediant chord is F major
Great video, you're such an effective teacher!
My question tho, isn't the Ab Major chord, when used in C Major, just like a borrowed chord from C Minor? I suppose that maybe that it's just another way to think about it.
Thanks again!
That’s kind. That’s a perfectly reasonable way of looking at it. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Wow that was so great, so much knowlege so very well and clear explained, thank you :)
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great stuff Gareth
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hi Gareth amazing content as always....I was wondering if its posibble to modulate for example from C major to A flat lydian instead of major. Regards.
Certainly possible.
05:30 The example is straightforward because you are writing it first. What happens if you play and write the enharmonic note. If the example is B# as the pivot note. Then suddenly the explanation and the theory breaks down. Even though it is the same audible pitch.
why?
@@eriknestaas2270 B# is not in the next chord. Therefore B# is "not" a pivot note to the next chord. That is where the given theory breaks down. That is why the given example could be called "a trivial example".
That’s why I’m calling it C rather than B# because C belongs to the C major chord and to the Ab major chord.
@@MusicMattersGB Yes, C works but you wrote it as C specifically, and the example "makes sense". If someone else wrote B# ..or the example is slightly off.. then.. the theory breaks, and without any backup theory to go by..
If it were written as B# it would then provide the same shift to G# major. It’s a matter of enharmonics.
Very interesting topic! I'm writing this one down :)
That’s most kind. Much more at www.mmcourses.co.uk
Excellent
Most kind. Hope you’re well.
@@MusicMattersGB very well. Preparing for my final major project in my MA Professional Media Composition as a young 60 year old!
Great plan. I’m just about to turn 61!
@@MusicMattersGB its no age at all! Music keeps us young.
Absolutely!
I was wondering what do you call that chord, whether it's a flattened submediant, a subdominant of the parallel key of Eb major or something else. I guess it would depend on how one looks at the function of the Ab chord, I sometimes even think of its variations as a dominant chord, a sort of inverted G7sus4b9.
It really depends on how it functions but flattened submediant is a good call.
How would I work out the submediant shift if i'm starting in a minor key?
Just the same but C minor would still work best going to Ab major in the example given because C occurs in Ab major. Ab minor contains a Cb.
Hey, so I'm trying to figure this out.
So basically, I just take the submediant key, flatten it, and then play the same chord? For example, I'm playing a Dmaj7, so I take my submediant of B minor, flatten it into Bb, and then play Bbmaj7? Will the coloring chord always have the same notation? E.g. (X)maj7 will be (X-4flats)maj7, (X)7 will be (X-4flats)7, so on? Additionally, to use the circle of fifths, I can just move 4 flats down and play the corresponding chord and it works?
Also, does this work for minor chords as well? Like, I have an Am9 I want to do a submediant shift for. I get that I can just move 4 flat down the circle of fifths to get to F minor so I can play Fm9 as a submediant shift, but why does this sort of work and F#m9 doesn't? By your rules, shouldn't it be F#m9 so we can use A as a minor third instead of Ab like Fm9 does? Is it the difference between the major and minor third?
All of that works. The submediant shift normally works better when you drop a major 3rd eg C major to Ab major; A minor to F minor. Also A minor and F minor have C in common so it functions as a pivot note.
I’m confused because it’s called the submediant shift (6th degree as you said), but you are using the flattened submediant in this example. So how is the submediant shit any different than modulating the relative minor? (As A Minor is the relative minor of C Major)
You’re correct. It’s the flattened submediant, as explained in the video. And that’s the difference because the relative minor is the unflattened submediant.
Hmmm...what about taking the supertonic (D in Cmaj) and pivoting to Bflat major? Does that work? If so, what's that called?
That also works by using the supertonic as a pivot note to the key of the flattened leading note.
bVI bVII I is an option that comes to mind here, but this lingering on bVI has a sound of its own, doesn't it?
Absolutely
Hi Gareth.Im not taking any music theory exam but interested in composing music .How are the music theory courses you provide different than just reading the music theory practice books of ABRSM?? thanks
Hi. The books explain the facts in one dimension. The video courses do much more. The concepts are explained, you then watch while music is written, you then hear it being played with the keys lighting up on the screen. This makes a huge difference to the understanding and takes it from academic principles to musical reality. You may also enjoy our Composition course.
@@MusicMattersGB thanks alot. Look forward to start :)
Enjoy!
The Ab is a tritone sub of a secondary Dom in C
😀
Isn't it also a Neapolitan Chord?
No. Not in this context.
@@MusicMattersGB 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 ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
@@MusicMattersGB -Will check it out!
😀
That WAS as common as cream in your coffee a few decades back now; I don’t know why everything is so dumbed down these days !!😩.
It’s good to share topics like this with people who would like to know about them.
@@MusicMattersGB Yes👍 Nothing wrong with imparting knowledge..
😀
MTV was the beginning of the dumbing down. Music started to get written to fit a video script, as key changes might require a change of scene in the video they became less common. I could of course be wrong, but that's just my thoughts on the matter.
@@GeorgeSPAMTindle Interesting perspective,
I hadn’t given that any thought.. I’ll have to think about that one some more.. I don’t really remember the MTV era all that well; I was busy working at the time lol
Pivot note to bVI
But bVI is not the submediant (VI is the submedient) so why would it be called submediant shift? 🤦♀️ Music theory is so dumb. Pivot note to VI could be called submediant shift I suppose but awkward to say bVI is also the same thing.
The focus needs to be on the C acting as a pivot note between the C major chord and the Ab major chord.
@@MusicMattersGB "Focus needs to be C acting as pivot" also implies that the C is on played on the strong beat (not mentioned in the video?), therefore, what happens if the C is on the weak beat.. or.. what happens if the C is only slightly off the strong beat (syncopated).. It is the edges of the theory which are rarely explained. At what point does the C stop being a pivot note and start being a suspension or other nonharmonic tone, etc, is never covered in theory.
The context of this move, as shown in the video, is that C must be a harmony note rather than a suspension or inessential note. The move could happen anywhere in the bar but is more likely to coincide with a beat.