Haha, my mother always told me I was a "natural disciplinarian." I like to think I just show people all the reasons why they should care so much. Best wishes, Dr. B
Dr. B is absolutely right about what happens when the person misses the modulation! I was analysing one of Bach's chorales and I missed the modulation and the chord progression started to become all weird and it didn't make sense anymore. So I went to Google and found this analysis for the same chorale done by someone with a good understanding of music theory, then it made sense because the person didn't miss the modulation and all the chords followed the harmonic progression chart.
Sometimes it is a good exercise to just analyze a major piece as if it were in the relative minor or vice versa, just to see how different/weird it looks. Thanks for the comment Calebe! Dr. B
A great lesson! If a tonic is reinterpreted as a subdominant (IV) of a new key, it is also interesting to double first the root position and then leap with one voice from the 8 to a 6. The chord becomes then a IVadd6 or a ii65 of the new key. By adding this caracteristic add6, it becomes even more clear to the listener that the tonic has gotten a new function in another key.
Thanks! I'm going to get more specific for anyone else reading this comment. If you are in the key of C major, the tonic is a C major triad. Although that C triad won't really sound like subdominant (IV) in G major at first, because the listener's ear will still be hearing it as tonic, if you do what Jacques suggests it is a great way to modulate to G major. The C major triad moves to A-7/C which is not a commonly heard chord in C major but works perfectly as a ii6/5 in G major. Thanks for expanding the conversation Jaques! Best wishes, Dr. B www.patreon.com/DrBMusicTheory
I personally find the viio7 the most versatile chord for a smooth and quite immediate modulation. What I find so amazing is that theoretically there are only three different fully diminished seventh chords. If you build a fully diminished 7th chords above C, then Cis and finally D you are already about to reach the first inversion on the E. Of course, these chords must be enharmonically rewritten in another key. You can without any difficulties integrate all these three chords in every key (two of them as a secondary leading tone seventh chords). 1) Now if you take all the four pitches in a viiio7 chord and you lower one of them by a half note, you get a V7 Chord of a new key. (which can be considered as a V 9-8 in the new key) F.ex. if you take the vii07 of the C majpr key and you lower the D to an D flat, you get a V for a Gb major key (which is a quite distant key from C major) That is what Beethoven did in hist “Pathétique” Sonata, 1. Movement (mm.135-136) by lowering one pitch of the viio7 of the gminor key (the C to a B), he get instantly from g minor to an e minor key. 2) You can also transform the fully leading tone 7th chord in such a way, that it can be considered as a secondary vii07 in another key. Schubert for example in his song “Der Neugierige” mm.33-34 uses the viii07 chord of A flat major and reinterprets it it as a vii07/V of the E major key. This kind of enharmonically modulation with the closing cadence vii07/V--T64-- V--T is called in Germany the “Königsweg”(The way of the king), because it is often used in classical literature and is yet very simple. Dr.B. I discovered your music theory videos recently and I watched the last episode today in only two weeks. Though I love classical music since my early childhood, I never studied music theory (which I sincerely regret). Your lessons are just amazing (as a Teacher, I love your approach) and noticing, that I can even follow all your explanations motivates me to resume composing. Keep up the good work Thank you very much. Best greetings from Luxembourg (Europe)
@@jaccaaccaa You listed a bunch of great harmonic possibilities. I didn't know that progression was called "The way of the king" - I love that. I spent a few weeks in Trier many years ago, but remember going into Luxembourg for a nice meal. Thank you so much for the comment! Dr. B
This is a great tutorial on how to confuse musicians with your terrible compositions. "V6 to VI6 - this doesn't make too much sense to me". What can I say, doesn't make sense to me either, but something compelled me to write it anyway.
Simple question... your final example, if the last G chord where altered to G7-C or even C/G-G as the first line, would you allow the C maj analysis to stand? Or still trash it in favor of G major version?
I love your tutorials! I am trying to analyze the Schubert String Quartet D173 II Movement. In the 3rd measure, I know the first beat is the tonic (Bflat) but on the next 8th, it looks like a vii diminished 7th of C major - is that a tonicization vii7dim/II or if it vii7dim/V/V (dominant of F) or is it a suspended app? I'm a tad lost
A A Thanks, brilliant teaching as usual. 2 questions: 1) are you teaching to a Iive audience in these videos? (If so, lucky students!). 2) What does the figure 4 ON IT'S OWN denote? This is part of an 'analyse the modulations' homework I'm doing with figured bass. Has the 4 been put on its own because there are 2 options perhaps, ...or is it a typo?? Any thoughts? (bar 11, Mozart An die Freude, K.53)
Thanks! 1) Yes. Students had an opportunity to ask questions at the end of each lecture. 2) The "4" is not a typo. It is figured bass and when the "4" is on its own it normally means 4 replaces the 3 above the bass and often indicates a 4-3 suspension. Mozart is a but more sophisticated as he changes bass notes on what would be the resolution of the suspension. I looked at this video (ruclips.net/video/JlO-FVpO3UQ/видео.html) which is a "realized" version of the two part figured bass. If you analyze measure 11 by 8th notes you get V6/4 - viio - I (with a 4 suspension) - vii half-diminished 7 of V. That is a bit strange so I think I'd analyze the first beat as V6/5 and then I - vii half-diminished 7 of V for beat two. I think there are a few different ways to look at this measure based on harmonic rhythm and the fact that although the non-chord tones resolve as expected, the chord underneath changes on the resolution. I hope that helps some! Dr. B
Hi Christopher Brellochs, one little question about what is and what isn't modulation, when you say that parallel can't be because the Tonic stay the same and after you say that relative can be considered as modulation, so I get that if I have a progression in C major and then change to Eb Major then this is a modulation, but if I stay in the parallel C minor it will not be a modulation, that is why I need to use the relative major of C minor and establish the new tonal center as Eb major ? Am I right ? I just have realised that I have another question : you said that modulation can be with closely related keys that have +/- 1 accidentals of difference, I understand that this is because the two keys share common chords and thus we can use them to modulate. But even with +/- 2 accidentals the keys share also at least 2 common chords ( C major and D major share : Em and G) so, why from C major D major or even Bb major can't be candidate keys to modulate to? Thanks again for the great content !
Thank you. Quick question though: doesn't C harmonic minor scale have Eb augmented instead of Eb major? This would mean that there's only one pivot chord between Bb flat and C-, which is C-.
@@ራስአንበሳተፈሪ I recommend watch my lessons in order since I cover everything step by step (or just Google what you don't understand like you did). It sounds like you're on track! Best wishes, Dr. B
Hello Dr. B., Here is a question which confuses me, but I felt sure you would know the answer. I am using the wonderful book, Tonal Harmony by Kostka, I think you know it. There is a modulation exercise on page 296 with an extract of Bach: Jesu, du bist mein. The key signature has 2 flats yet it states the key as c minor and the modulation to E flat occurs at bar 5. When you put the Roman numerals under the chords it makes sense, the first chord as a i (c minor tonic). I then went to RUclips to find a recording of it and someone has made a very colourful analysis but entirely in E flat and the first and final chords are listed as vi, submediant. Firstly, is this a mistake? Secondly, what is the reason for writing one key signature when the opening and concluding chords suggest a different one. Thanks in advance for any light you can shed on this. All the best, Andrew
Dr B you are a blessing to RUclips
Thanks so much for the comment. It feels great to know my videos are still useful to people.
Best wishes,
Dr. B
when i hear my theory teacher talk i want to die, but for some reason when Dr B talks I'm like "sir yes sir" and all motivated to listen and shit
Haha, my mother always told me I was a "natural disciplinarian." I like to think I just show people all the reasons why they should care so much.
Best wishes,
Dr. B
2:50 "Key" relationships, get it?
Dr. B is absolutely right about what happens when the person misses the modulation! I was analysing one of Bach's chorales and I missed the modulation and the chord progression started to become all weird and it didn't make sense anymore. So I went to Google and found this analysis for the same chorale done by someone with a good understanding of music theory, then it made sense because the person didn't miss the modulation and all the chords followed the harmonic progression chart.
Sometimes it is a good exercise to just analyze a major piece as if it were in the relative minor or vice versa, just to see how different/weird it looks.
Thanks for the comment Calebe!
Dr. B
Many thanks for specific explanations to give the definition of modulation and tonicization to distinguish and apply for Diatonic chords
Christopher Brellochs is literally the Richard Feynman of Music Theory!
Thank you very much, Dr. B, I like your presentation very much! A great help to understand the difference between modulation and tonicization!
Thanks so much Wendy!
Best wishes,
Dr. B
Thanks. I see that the similarities and the differences in identification are the most important : variations
Great explanation of modulation!
A great lesson! If a tonic is reinterpreted as a subdominant (IV) of a new key, it is also interesting to double first the root position and then leap with one voice from the 8 to a 6. The chord becomes then a IVadd6 or a ii65 of the new key. By adding this caracteristic add6, it becomes even more clear to the listener that the tonic has gotten a new function in another key.
Thanks!
I'm going to get more specific for anyone else reading this comment. If you are in the key of C major, the tonic is a C major triad. Although that C triad won't really sound like subdominant (IV) in G major at first, because the listener's ear will still be hearing it as tonic, if you do what Jacques suggests it is a great way to modulate to G major.
The C major triad moves to A-7/C which is not a commonly heard chord in C major but works perfectly as a ii6/5 in G major.
Thanks for expanding the conversation Jaques!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
I personally find the viio7 the most versatile chord for a smooth and quite immediate modulation. What I find so amazing is that theoretically there are only three different fully diminished seventh chords. If you build a fully diminished 7th chords above C, then Cis and finally D you are already about to reach the first inversion on the E. Of course, these chords must be enharmonically rewritten in another key. You can without any difficulties integrate all these three chords in every key (two of them as a secondary leading tone seventh chords).
1) Now if you take all the four pitches in a viiio7 chord and you lower one of them by a half note, you get a V7 Chord of a new key. (which can be considered as a V 9-8 in the new key) F.ex. if you take the vii07 of the C majpr key and you lower the D to an D flat, you get a V for a Gb major key (which is a quite distant key from C major) That is what Beethoven did in hist “Pathétique” Sonata, 1. Movement (mm.135-136) by lowering one pitch of the viio7 of the gminor key (the C to a B), he get instantly from g minor to an e minor key.
2) You can also transform the fully leading tone 7th chord in such a way, that it can be considered as a secondary vii07 in another key. Schubert for example in his song “Der Neugierige” mm.33-34 uses the viii07 chord of A flat major and reinterprets it it as a vii07/V of the E major key. This kind of enharmonically modulation with the closing cadence vii07/V--T64-- V--T is called in Germany the “Königsweg”(The way of the king), because it is often used in classical literature and is yet very simple.
Dr.B. I discovered your music theory videos recently and I watched the last episode today in only two weeks. Though I love classical music since my early childhood, I never studied music theory (which I sincerely regret). Your lessons are just amazing (as a Teacher, I love your approach) and noticing, that I can even follow all your explanations motivates me to resume composing.
Keep up the good work
Thank you very much.
Best greetings from Luxembourg (Europe)
@@jaccaaccaa You listed a bunch of great harmonic possibilities. I didn't know that progression was called "The way of the king" - I love that.
I spent a few weeks in Trier many years ago, but remember going into Luxembourg for a nice meal.
Thank you so much for the comment!
Dr. B
It’s a small world;)
This is good teaching!
I appreciate the endorsement!
Best wishes,
Dr. B
This is a great tutorial on how to confuse musicians with your terrible compositions. "V6 to VI6 - this doesn't make too much sense to me". What can I say, doesn't make sense to me either, but something compelled me to write it anyway.
Simple question... your final example, if the last G chord where altered to G7-C or even C/G-G as the first line, would you allow the C maj analysis to stand? Or still trash it in favor of G major version?
I love your tutorials! I am trying to analyze the Schubert String Quartet D173 II Movement. In the 3rd measure, I know the first beat is the tonic (Bflat) but on the next 8th, it looks like a vii diminished 7th of C major - is that a tonicization vii7dim/II or if it vii7dim/V/V (dominant of F) or is it a suspended app? I'm a tad lost
A
A
Thanks, brilliant teaching as usual. 2 questions: 1) are you teaching to a Iive audience in these videos? (If so, lucky students!). 2) What does the figure 4 ON IT'S OWN denote? This is part of an 'analyse the modulations' homework I'm doing with figured bass. Has the 4 been put on its own because there are 2 options perhaps, ...or is it a typo?? Any thoughts? (bar 11, Mozart An die Freude, K.53)
Thanks!
1) Yes. Students had an opportunity to ask questions at the end of each lecture.
2) The "4" is not a typo. It is figured bass and when the "4" is on its own it normally means 4 replaces the 3 above the bass and often indicates a 4-3 suspension.
Mozart is a but more sophisticated as he changes bass notes on what would be the resolution of the suspension. I looked at this video (ruclips.net/video/JlO-FVpO3UQ/видео.html) which is a "realized" version of the two part figured bass. If you analyze measure 11 by 8th notes you get V6/4 - viio - I (with a 4 suspension) - vii half-diminished 7 of V. That is a bit strange so I think I'd analyze the first beat as V6/5 and then I - vii half-diminished 7 of V for beat two.
I think there are a few different ways to look at this measure based on harmonic rhythm and the fact that although the non-chord tones resolve as expected, the chord underneath changes on the resolution.
I hope that helps some!
Dr. B
Thank you so so much!!!!!!!!
Hi Christopher Brellochs, one little question about what is and what isn't modulation, when you say that parallel can't be because the Tonic stay the same and after you say that relative can be considered as modulation, so I get that if I have a progression in C major and then change to Eb Major then this is a modulation, but if I stay in the parallel C minor it will not be a modulation, that is why I need to use the relative major of C minor and establish the new tonal center as Eb major ?
Am I right ?
I just have realised that I have another question : you said that modulation can be with closely related keys that have +/- 1 accidentals of difference, I understand that this is because the two keys share common chords and thus we can use them to modulate. But even with +/- 2 accidentals the keys share also at least 2 common chords ( C major and D major share : Em and G) so, why from C major D major or even Bb major can't be candidate keys to modulate to?
Thanks again for the great content !
Thank you.
Quick question though: doesn't C harmonic minor scale have Eb augmented instead of Eb major? This would mean that there's only one pivot chord between Bb flat and C-, which is C-.
I don’t understand why the V7 / IV or the G7/F is a V,4,2..... what does that mean?
Never mind I understand now. I googled it... it’s just the inversion of the chord structure.
@@ራስአንበሳተፈሪ I recommend watch my lessons in order since I cover everything step by step (or just Google what you don't understand like you did). It sounds like you're on track!
Best wishes,
Dr. B
Hello Dr. B., Here is a question which confuses me, but I felt sure you would know the answer. I am using the wonderful book, Tonal Harmony by Kostka, I think you know it. There is a modulation exercise on page 296 with an extract of Bach: Jesu, du bist mein. The key signature has 2 flats yet it states the key as c minor and the modulation to E flat occurs at bar 5. When you put the Roman numerals under the chords it makes sense, the first chord as a i (c minor tonic). I then went to RUclips to find a recording of it and someone has made a very colourful analysis but entirely in E flat and the first and final chords are listed as vi, submediant. Firstly, is this a mistake? Secondly, what is the reason for writing one key signature when the opening and concluding chords suggest a different one. Thanks in advance for any light you can shed on this. All the best, Andrew
Here is a video answer to your question: ruclips.net/video/TO5-oDNw7QA/видео.html
Helpful
Excellent. That's the whole intention behind these videos; thanks for letting me know!
Best wishes,
Dr. B
www.patreon.com/DrBMusicTheory
👏🏻👏🏻👏🏻
21:00 Also no diminished in secondary function correct ??
12:29 I think Eb is not common chord. Bebause in c minor Eb is augmented triad