Thanks, Zach. It’s always good to review this stuff. To get from C major to F# major, one could pivot on the note B natural-this tone is the third of the V chord in C, but the 7th of the V chord in F#.....so your standard tritone substitution. It would then resolve nicely down to A#, the third of the new key.
Great observation! I use tritone substitutions often--and for similar reasons, you could also play a B diminished or B fully diminished to modulate as well :)
Or you exclusively use voice leading with the only rule of each note having to move a half- or whole step with each intermediate chord. Then you're in Jacob Collier land.
You have to understand the circle of fifths. While you go up through major keys every neighbor key got 2 different chords - its 2nd and 4th in F for example, that are 5th and 7th in C (so 2nd is minor in F that is major dominant in C and 4th is major in F and diminished in C). In minor its 4th and 6th in d for example, that are 7th and 2nd in a (so 4th is minor in d that is 7th major in a and 6th is major in d that is 2nd diminished in a). When you talking about a step gap between keys, like in this video (C-(G)-D) then there are only two same chords that are from this middle key - G and his minor e.
Interesting to notice that 6-4-2 is a subdominant function of chord progression and 3-5-7 is dominant (order is important, kinda) so in major part of F 4-2 differs part of C 5-7, and in minor d 6-4 differs 7-2 (call it 9 for easiness so 7-9) of minor a (so in major they totally swap functions.
Busted haha--my own train of thought pulled me away from the solution! For a quick modulation I'd probably do C major > Bdim > F# major if using diminished chords to modulate, OR C > G > D > A > E > B > F# if using the circle of fifths for a longer modulation... though there's many other ways to accomplish it :)
@@ZachHeyde I’d use the diminished chord, too. But only in pieces that can live with its slightly old-fashioned sound. Just saw Jacob Collier praise diminished chords because of their modulation flexibility the other day 😄
Great video! As far as I know what you call Direct modulation isn’t actually a modulation at all… But I might be wrong and there might be different terms in different languages for it.
Thanks, Zach. It’s always good to review this stuff. To get from C major to F# major, one could pivot on the note B natural-this tone is the third of the V chord in C, but the 7th of the V chord in F#.....so your standard tritone substitution. It would then resolve nicely down to A#, the third of the new key.
Great observation! I use tritone substitutions often--and for similar reasons, you could also play a B diminished or B fully diminished to modulate as well :)
That's awesome!
I was just thinking about this. I only knew it had something to do with the 5th.... But, this explains things much more clearly. 😅
Super informative as always. Thank you buddy!
What a great video, thanks!
Great, very very effective.
Tanx!
Brilliant - Thanks!
Or you exclusively use voice leading with the only rule of each note having to move a half- or whole step with each intermediate chord. Then you're in Jacob Collier land.
YEP! That's a whole different world of musical rules (or lack thereof) 😂
Your a born Teacher Zach. Many thanks. Anyone know of a chart or resource where you can quickly find what common chords might be in 2 different Keys?
You have to understand the circle of fifths. While you go up through major keys every neighbor key got 2 different chords - its 2nd and 4th in F for example, that are 5th and 7th in C (so 2nd is minor in F that is major dominant in C and 4th is major in F and diminished in C). In minor its 4th and 6th in d for example, that are 7th and 2nd in a (so 4th is minor in d that is 7th major in a and 6th is major in d that is 2nd diminished in a). When you talking about a step gap between keys, like in this video (C-(G)-D) then there are only two same chords that are from this middle key - G and his minor e.
Interesting to notice that 6-4-2 is a subdominant function of chord progression and 3-5-7 is dominant (order is important, kinda) so in major part of F 4-2 differs part of C 5-7, and in minor d 6-4 differs 7-2 (call it 9 for easiness so 7-9) of minor a (so in major they totally swap functions.
Actually buy a book that is called "harmony", that is not that big and explains pretty much to cook on your own)
The C-major to Bb-major sounded like F-major to me. The Bb chord sounded like it was tense and wanted to resolve somewhere else
C major and F# major still has one common chord. Isn't the G major the dominant of C major and the Neapolitan 6th of F# major?
hi may i know what software is that to show piano keys and the notation? thanks
Classroom Maestro 😁
Kinda sad, Zach. You didn't end up at F-sharp major! Kidding, you're always fun to watch.
Busted haha--my own train of thought pulled me away from the solution! For a quick modulation I'd probably do C major > Bdim > F# major if using diminished chords to modulate, OR C > G > D > A > E > B > F# if using the circle of fifths for a longer modulation... though there's many other ways to accomplish it :)
@@ZachHeyde I’d use the diminished chord, too. But only in pieces that can live with its slightly old-fashioned sound. Just saw Jacob Collier praise diminished chords because of their modulation flexibility the other day 😄
It is how I do it as well. I'm also looking for other tricks to do it.
So what about F# ? 🤷♂️
Great video! As far as I know what you call Direct modulation isn’t actually a modulation at all… But I might be wrong and there might be different terms in different languages for it.