Since there’s some confusion: When I say G-major 7 I mean G7 / Dominant 7, not G-major with a major 7 (Gmaj7). All 7-chords in this video are dominant 7 chords, there’s not a single major 7. The reason I tried to avoid Dominant7 and other functional terms is because ppl without a theory background don’t know what that is. So the major is simply referring to the chord, not the 7. Additionally, in Germany (where I first learned about harmony), we don't use the same word for the chord and the intervals. Chords are classified as Dur and Moll whereas intervals are classified with major and minor. Old habits and all...
There is no other youtuber as clear! Super professional, though easy to understand! So much know how presented this nicely is not what we are used to find! Fantastic!
"lower one note in a diminished chord and it becomes a dominant chord" I jumped up went to the keyboard and my mind was blown. I have been playing for 30+ years and never saw that. Thanks
Anne-Kathrin, thank you for great videos! But since you mentioned it yourself, I've could have sworn you hade an extremely well made makeup in this video.
Thank you as always for this wonderful video. So many RUclipsrs overcompensate trying to make their videos "interesting" with all kinds of rapid cuts, FX, loud voices, constant attempts at humor, etc., etc. but I enjoy how calm you are in your videos and the relative simplicity of discussion, example, discussion, example, etc. :)
You look equally competent with or without the make-up. Just know that it really doesn't matter. It's your charisma, insights and communication skills that makes you so good at this RUclips thing. I live in Austria but I've never heard of Hollywood Worksop, so thank you for the tip-top tip! Edit: DamnitI I looked into that workshop. Really interesting and even pretty reasonably priced, but I don't have the days free to go all the way to Vienna and stay overnight 😢
I usually don't like using MIDI display, but I appreciated the logic behind the modulation strategies. I'm learning my triads, but have become a music theory Geek, so I followed this up to the Augmented Sixth chords. From what little I know about them is that the voicing of the chord makes sense. But your simple explanation will help when I start using them. I just recently started practicing transitioning out of a fully diminished chord into Major Major-7 chords. I haven't mastered them yet, but you've given me inspiration to go to Dominant 7 chords. I was only slightly shocked by your use of a parallel fifth, but will excuse you if you do a Counterpoint video that is easy to understand. I need to start learning counterpoint, and any pointers will be much appreciated. Merci beaucoup.
21:23 The German 5-6 chord is usually used for dominant double chords that resolve to dominant chords. In this case is a tritone substitution of C# (V of F#) (pretty jazzy)
I just found this channel and it's pretty cool. I have been playing music as a drummer for 53 years. I'm self-taught and never had any formal training. Since 2006, I've been writing music on the computer, first under the name "Correlate of Consciousness" and lately "27 Goats". I have watched different people teaching theory and am slowly picking stuff up.
The 5-6 chord is in jazz parlance a tritone substitution for the dominant of the new key. For those that like to think of it that way. In this case I find the classical theoretical explanation for the 5-6 more convoluted than the jazz theoretical explanation for the tritone sub. Just goes to show there are always multiple ways of think about music theory.
Of course there is. And I think it is a good thing that nowadays you can use the simple explanation. Sometimes it can be fun to analyze the function of each chord. In other cases it's just enough to know that it will work when you use it that way.
german 5-6 chord hab ich noch nie gehört. Im Jazz nennen wir das Tritonus-Substitution (weil der Dominatseptakkord mit #11 die gleichen Töne hat, wie der gleiche Akkord um 1 Tritonus versetzt, nur einen anderen Namen/Basston) In meiner Hochschule nannten wir das Rückung im Unterschied zu Modulation, wenn kein "Modulator"-Akkord zwischen Ausgangs- und Zieltonart stand.
There is so much pure GOLD here!! The way you lay out all of these methods and explain conversationally about the nuances and reasoning really makes it accessible and understandable. Just purchased the MIDI. 🙂 PS: The alt version of the Minor V where you land on Eb major - what a really cool feeling of "pleasant surprise" whenever the melody starts without the chord even changing. (Felt like the "5" and it's suddenly the "1".) Mind blown!
Golden summary, an incredible, well thought out and planned class on practical modulation theory. I believe your calmed, down to earth, humble style of explaining things with this clarity shows that you're a top notch professional. This is the kind of content the community needs.
Thank you! I keep wondering if the piano roll is more helpful than sheet music but I figured it's something everyone can read (as opposed to sheet music).
Yes............missed you Dern. This was, as usual, a great lesson with lots of useful info. I always learn so much from ypour posts. Cannot thank you enough. Wish you blessings. 🙏🏾🌞
Terrific refresher. Papa Bach himself wrote parallel 5ths on occasion, even in four-part choral pieces. Sometimes, it’s the lesser evil. Everything is trade-offs, and if it sounds good, it is good. Oh. And, yes. We did miss you.
Modulation to a small third form the main key is very effective and let say natural, Wagner use this much in 'Tannhauser' , 'Tristan and Isolde' and 'Parsifal' it's abseloutly fantastic! Yes you're totally right about modulation, very interesting 🙂
Thanks a lot Anne, there's some really useful information here! I always struggled to get my head around the German 5-6 (I learned it as the 'augmented sixth'). I like your way of just remembering it has the same tritone as a regular Dom 7 chord. Much easier to remember! A lot of these modulations sounded lovely as well. Thanks!
Very clear, dense but easily useable, and a wonderfully elegant use of one theme for demonstration. I appreciate your example of thoroughness in setting out each progression possibility for diminished 7ths, too. Thanks very much!
Great video! I don't know why, but in the last 4 major diminished examples, I had a different intuition for where 2 and 3 would go lol, but the minor examples all clicked exactly as you wrote them.
Hi Anne! This is simply fantastic. True, there is a lot of resources about modulation but you make it so clear and understandable. Many thanks again. Keep going. A big hug from Italy
Regarding Direct Modulation (that's what we called your 'truck driver's shift' in conservatory)... I think your opening remark defining modulation as 'changing the key' sort of settles the debate about modulation. I think the debate isn't about what modulation is, but rather about what 'smooth' modulation is. Some direct modulations are inherently smooth, like you said regarding related tones, etc. and some direct modulations are not smooth at all. But I don't think modulation really needs to have any perquisites to be modulation. Direct modulation is certainly efficient, and I have used it on occasion to just get somewhere new... right now. It's not like the music stops and then starts again. The key is truly being changed within the context of a singular musical moment. I think your opening definition nails it pretty well. I've been loving your videos! You have a lot of no-nonsense content on here and your writing is very polished.
The minor trick is very interesting, thank you. The entire video is very inspiring and we'll done. Tomorrow I'll exercise these on diferentes already made piece of ideas I have. Big thanks.
Thanks again for these videos. I’ve been thinking about modulation a lot recently, so the timing and usefulness of this was perfect! Also, the no makeup look suits you!
Love this video, so much information and so easy to understand! I love how each technique has a different flavour - e.g. a good common tone modulation is barely noticeable to the casual listener (good for padding out unobtrusively) whereas circle of fifths or minor V are more obvious changes with a nice tension-release moment. Then o7 and 5-6 are great for period drama as with proper voicing they just scream C18/19th Europe. Or to crank the tension in an action scene just truck-driver up a minor 3rd because subtlety is for suckers! 😂
Great info! Maybe it's just my inner jazz musician, but shifting into a new key with ii-V-I has always worked well for me. It works especially well for modulating by thirds. Disney has lots of great examples of this. Gear change! Made me laugh. I think we called it a phrase modulation when I studied, though it was implied that the modulation occurred at the beginning of the new phrase.
Wonderful explanations Anne-Kathrin 🙂As always. You have great ways to verbally explain those simple tonal shifts (modulations) to students. We - jazz musicians/composers use these techniques all the time on daily basis, but when it comes to explaining in simple words "how we did it" it becomes a chore sometimes... You do it so wonderfully ! I am gonna forward this (and all of your videos for that matter) to all my students. Thanks for a wonderful content !! 😃
Thank you very much! It's a pleasure to follow your clear explanations! Could you please dedicate another video to modulation? This is the topic I am most interested in. And your approaches are very practical and suited to my creative process! Perhaps, could you also do a video on the different types of dominant and subdominant chords and their effects and uses? Or how to master the harmonic flow of fancy polychords? That's still a mystery to me... 🙏 I wish you a wonderful time in Austria! I'm from there, but I'm nowhere near advanced enough to take part in a Hollywood Music Workshop.😊
A lot of complex information packed in a very simple to understand form. I knew about all these modulation paths but this is the clearest explanation I have heard so far
Thank you Anne. A Great and simple explanation of modulation. My personal favorite is the secondary dominant, it always feels like a very elegant way to change the key.
I find it helpfull that you use the piano roll .If it was in notation I would not understand .I got an add come up just when you finnished explaning the filler chords and it was a MacDonalds burger add .I will see where the diminished chord takes me .Quite exiciting .Thank you .
Great video Anne. Very thorough. I really love the depth of information you use to cover your topics. Makes the information much easier to digest. Keep up the great work! 👍
Really love your content. You are a great teacher, you make sometimes very complicated subjects, like modulation, and how to achieve it, easy to understand. Thats the sign of a great teacher!
I like to use common tones between sections even if they don't modulate. Although my application of these tutorials may be rather different than orchestral works I always get some useful information out of them. Looking forward to the next one 🙂
Hey Anne, I heard your contribution to a Hallmark episode my wife was watching, great job. I even told my that I knew you lol. Keep doing what you’re doing,sounds great.👍
That German 5-6 chord approach is just a straight-up tritone substitution. For a little extra spice, you can flatten the 5th to give it more of an altered dominant sound and provide a shared tone between pivot and destination. :) Jazz musicians are very familiar with that technique.
Since there’s some confusion: When I say G-major 7 I mean G7 / Dominant 7, not G-major with a major 7 (Gmaj7). All 7-chords in this video are dominant 7 chords, there’s not a single major 7. The reason I tried to avoid Dominant7 and other functional terms is because ppl without a theory background don’t know what that is. So the major is simply referring to the chord, not the 7. Additionally, in Germany (where I first learned about harmony), we don't use the same word for the chord and the intervals. Chords are classified as Dur and Moll whereas intervals are classified with major and minor. Old habits and all...
Pin this comment so everybody can see it on top. Otherwise, you are going to get asked the same thing 1 trillion times 😆
@@AtlasBenighted Ah thank you! I thought I had pinned it but apparently not. 😅
It is very confusing without explanation
It's good for you that you pinned this comment but I understood it right in the video. Which is very well done and useful, thank you.
As a hobbyist suffering from chronic key entrapment, you just gave me several 'get out of jail free' cards 😂 Love the new look also.
Discovering this channel has been a joy.
There is no other youtuber as clear! Super professional, though easy to understand! So much know how presented this nicely is not what we are used to find! Fantastic!
"lower one note in a diminished chord and it becomes a dominant chord" I jumped up went to the keyboard and my mind was blown. I have been playing for 30+ years and never saw that. Thanks
was just at the Bloc ⬛ love this overview
Moin aus Bremen. Sehr instruktives Video, Anne. Danke!
😂
One of the best compo tutorial ever
You don't need makeup, you look great.
I agree! You look lovely! 🥰
Totally agree. :)
True
Du brauchst Deine Schönheit wahrlich nicht hinter Make up zu verstecken 😅
Anne-Kathrin, thank you for great videos! But since you mentioned it yourself, I've could have sworn you hade an extremely well made makeup in this video.
The single most useful and well thought out video I have ever watched on RUclips. Thank you so much!
This has officially became my favorite RUclips channel!!! Passing on knowledge in such an easy and natural way is truly a gift! 🙏❤️
Thank you as always for this wonderful video.
So many RUclipsrs overcompensate trying to make their videos "interesting" with all kinds of rapid cuts, FX, loud voices, constant attempts at humor, etc., etc. but I enjoy how calm you are in your videos and the relative simplicity of discussion, example, discussion, example, etc. :)
You look equally competent with or without the make-up. Just know that it really doesn't matter. It's your charisma, insights and communication skills that makes you so good at this RUclips thing.
I live in Austria but I've never heard of Hollywood Worksop, so thank you for the tip-top tip!
Edit:
DamnitI I looked into that workshop. Really interesting and even pretty reasonably priced, but I don't have the days free to go all the way to Vienna and stay overnight 😢
Awesome video!! I had one professor refer to the sudden type key changes as "Cymbal Crash Modulations".
I usually don't like using MIDI display, but I appreciated the logic behind the modulation strategies. I'm learning my triads, but have become a music theory Geek, so I followed this up to the Augmented Sixth chords. From what little I know about them is that the voicing of the chord makes sense. But your simple explanation will help when I start using them.
I just recently started practicing transitioning out of a fully diminished chord into Major Major-7 chords. I haven't mastered them yet, but you've given me inspiration to go to Dominant 7 chords.
I was only slightly shocked by your use of a parallel fifth, but will excuse you if you do a Counterpoint video that is easy to understand. I need to start learning counterpoint, and any pointers will be much appreciated.
Merci beaucoup.
Yes you were missed very much...🙂Thank you for this
Was enjoying a movie on Hallmark channel recently and saw you were the composer. Congratulations. Nice work!!!
Thank you!
I can't express how grateful I am.
Thank you for sharing these gems, I respect your work and efforts and wish you the best in your journey
Lovely lesson. Easily understood. Thank you so much.
21:23 The German 5-6 chord is usually used for dominant double chords that resolve to dominant chords. In this case is a tritone substitution of C# (V of F#) (pretty jazzy)
I just found this channel and it's pretty cool. I have been playing music as a drummer for 53 years. I'm self-taught and never had any formal training. Since 2006, I've been writing music on the computer, first under the name "Correlate of Consciousness" and lately "27 Goats". I have watched different people teaching theory and am slowly picking stuff up.
im gonna have to watch this video too many times. thanks!! LOTS of information and resources.
Great to see you again.
No makeup is fine.
Very helpful your instruction.
Thanks Again
The 5-6 chord is in jazz parlance a tritone substitution for the dominant of the new key. For those that like to think of it that way. In this case I find the classical theoretical explanation for the 5-6 more convoluted than the jazz theoretical explanation for the tritone sub. Just goes to show there are always multiple ways of think about music theory.
Of course there is. And I think it is a good thing that nowadays you can use the simple explanation. Sometimes it can be fun to analyze the function of each chord. In other cases it's just enough to know that it will work when you use it that way.
Excellent.
Couldn't solve a too-long scene and came across this video during dinner....problem solved!!
Thanks for the great content as usual Anne!
So glad your back Anne-Kathrin
Thank you Anne very helpful!!! 👌
Best music tutorial I’ve seen in months. Can’t wait to get started.
german 5-6 chord hab ich noch nie gehört. Im Jazz nennen wir das Tritonus-Substitution (weil der Dominatseptakkord mit #11 die gleichen Töne hat, wie der gleiche Akkord um 1 Tritonus versetzt, nur einen anderen Namen/Basston) In meiner Hochschule nannten wir das Rückung im Unterschied zu Modulation, wenn kein "Modulator"-Akkord zwischen Ausgangs- und Zieltonart stand.
Only halfway through and totally energized. Fascinating; super useful; beautifully explained and demonstrated. Thank you. 🙏
Glad this is helpful!
There is so much pure GOLD here!!
The way you lay out all of these methods and explain conversationally about the nuances and reasoning really makes it accessible and understandable. Just purchased the MIDI. 🙂
PS: The alt version of the Minor V where you land on Eb major - what a really cool feeling of "pleasant surprise" whenever the melody starts without the chord even changing. (Felt like the "5" and it's suddenly the "1".) Mind blown!
I understand your teaching very well, I've done much music using common tones for modulation, it's so uplifting and refreshing😎🤤😷
Very nice and clear, thank you Anne-Kathrin!
This is a great video. Havent come across someone talking about all types of modulation like this when browsing yt just yet.
Golden summary, an incredible, well thought out and planned class on practical modulation theory. I believe your calmed, down to earth, humble style of explaining things with this clarity shows that you're a top notch professional. This is the kind of content the community needs.
Thank you Anne-Katherine for the great info. You are always clear and concise. PS you look great without the icing.
Thank you so much, Anne. Very inspirational!
Helpful?! Probably the most useful video I've watched on the subject ever. Seeing it in piano roll really helps crystallise it. Thank you!!
Thank you! I keep wondering if the piano roll is more helpful than sheet music but I figured it's something everyone can read (as opposed to sheet music).
Yes............missed you Dern. This was, as usual, a great lesson with lots of useful info. I always learn so much from ypour posts. Cannot thank you enough. Wish you blessings. 🙏🏾🌞
Fantastic video. Modulation always has been fly-by-night for me, and now I feel I could actually do it with purpose.
Thanks Anne you’re awesome
thank you very much for this video. Its great to have this overview. (p.s. this natural look suits you great!)
Absolutely brilliant video - thanx!! 🎉
Thanks
I love the mod- through Gm / Fm. Creates mystical ambience. Lovely
Terrific refresher. Papa Bach himself wrote parallel 5ths on occasion, even in four-part choral pieces. Sometimes, it’s the lesser evil. Everything is trade-offs, and if it sounds good, it is good.
Oh. And, yes. We did miss you.
Not on purpose he didn't. Not given lengths he would go to to avoid them.
Modulation to a small third form the main key is very effective and let say natural, Wagner use this much in 'Tannhauser' , 'Tristan and Isolde' and 'Parsifal' it's abseloutly fantastic! Yes you're totally right about modulation, very interesting 🙂
Thanks a lot Anne, there's some really useful information here! I always struggled to get my head around the German 5-6 (I learned it as the 'augmented sixth'). I like your way of just remembering it has the same tritone as a regular Dom 7 chord. Much easier to remember! A lot of these modulations sounded lovely as well. Thanks!
Valeu!
Thank you so much! Really appreciate the support!
Love your explanations! Please make more composition tutorials!
very inspiring. Thank you
Very clear, dense but easily useable, and a wonderfully elegant use of one theme for demonstration. I appreciate your example of thoroughness in setting out each progression possibility for diminished 7ths, too. Thanks very much!
One helpful way I came across for interpreting dim 7ths is to think of all 4 chord tones as potential leading tones for the next harmony.
Thank you. These are great!
Great video! I don't know why, but in the last 4 major diminished examples, I had a different intuition for where 2 and 3 would go lol, but the minor examples all clicked exactly as you wrote them.
Welcome back! Enjoyed the post and looking forward to the counterpoint video you mentioned.
Hi Anne! This is simply fantastic. True, there is a lot of resources about modulation but you make it so clear and understandable. Many thanks again. Keep going. A big hug from Italy
Regarding Direct Modulation (that's what we called your 'truck driver's shift' in conservatory)... I think your opening remark defining modulation as 'changing the key' sort of settles the debate about modulation. I think the debate isn't about what modulation is, but rather about what 'smooth' modulation is. Some direct modulations are inherently smooth, like you said regarding related tones, etc. and some direct modulations are not smooth at all. But I don't think modulation really needs to have any perquisites to be modulation. Direct modulation is certainly efficient, and I have used it on occasion to just get somewhere new... right now. It's not like the music stops and then starts again. The key is truly being changed within the context of a singular musical moment. I think your opening definition nails it pretty well. I've been loving your videos! You have a lot of no-nonsense content on here and your writing is very polished.
Thanks from the bottom of my heart !
Wow, just found your channel and im sad i didnt find it earlier. Super awesome
I've understood more from this video than pretty much everything else I've either watched or read - thank you!
Thank you for continuing to make these!
The most usefull modulation tutorial I've ever seen. Suscribed, and thank you.
The minor trick is very interesting, thank you. The entire video is very inspiring and we'll done. Tomorrow I'll exercise these on diferentes already made piece of ideas I have. Big thanks.
Really cool video. Thanks for that
It's fantastic how clearly you describe aspects of harmonic theory Anne-Kathrin!
Thanks again for these videos. I’ve been thinking about modulation a lot recently, so the timing and usefulness of this was perfect! Also, the no makeup look suits you!
Thanks Anne-Kathrin for a well explained video. I really enjoyed it and learned a lot.
Glad I found this channel
Yes, you were missed. Looking great.
Great sounds design ...congrats
Very good Tutorial, keep it up and well done!
Love this video, so much information and so easy to understand! I love how each technique has a different flavour - e.g. a good common tone modulation is barely noticeable to the casual listener (good for padding out unobtrusively) whereas circle of fifths or minor V are more obvious changes with a nice tension-release moment. Then o7 and 5-6 are great for period drama as with proper voicing they just scream C18/19th Europe. Or to crank the tension in an action scene just truck-driver up a minor 3rd because subtlety is for suckers! 😂
Beautiful ❤️!
Great info! Maybe it's just my inner jazz musician, but shifting into a new key with ii-V-I has always worked well for me. It works especially well for modulating by thirds. Disney has lots of great examples of this.
Gear change! Made me laugh. I think we called it a phrase modulation when I studied, though it was implied that the modulation occurred at the beginning of the new phrase.
What a wonderful exposition! Bravo!
Wonderful explanations Anne-Kathrin 🙂As always. You have great ways to verbally explain those simple tonal shifts (modulations) to students. We - jazz musicians/composers use these techniques all the time on daily basis, but when it comes to explaining in simple words "how we did it" it becomes a chore sometimes... You do it so wonderfully ! I am gonna forward this (and all of your videos for that matter) to all my students. Thanks for a wonderful content !! 😃
Thank you very much! It's a pleasure to follow your clear explanations!
Could you please dedicate another video to modulation? This is the topic I am most interested in. And your approaches are very practical and suited to my creative process!
Perhaps, could you also do a video on the different types of dominant and subdominant chords and their effects and uses?
Or how to master the harmonic flow of fancy polychords? That's still a mystery to me... 🙏
I wish you a wonderful time in Austria! I'm from there, but I'm nowhere near advanced enough to take part in a Hollywood Music Workshop.😊
Thank you ! examples are very helpfull, to understand modulation.
A lot of complex information packed in a very simple to understand form. I knew about all these modulation paths but this is the clearest explanation I have heard so far
Thanks good seeing you and hearing again you sharing your insights.
Thank you Anne. A Great and simple explanation of modulation. My personal favorite is the secondary dominant, it always feels like a very elegant way to change the key.
Really love listening to your videos, so informative and chill, thankkkk you!
That was really lovely, thank you for the music.
Thanks Anne! Really enjoyed this video!
Fantastic video as always. BTW, you look great without all the makeup, you don't need it.
Second that!
Yes, please normalise not wearing makeup. This RUclips obsession with appearance, and ridiculous thumbnail faces, is harmful to everyone.
I find it helpfull that you use the piano roll .If it was in notation I would not understand .I got an add come up just when you finnished explaning the filler chords and it was a MacDonalds burger add .I will see where the diminished chord takes me .Quite exiciting .Thank you .
Great video Anne. Very thorough. I really love the depth of information you use to cover your topics. Makes the information much easier to digest. Keep up the great work! 👍
Love this. I always was wondering ifbending on the note, and starting another new phrase with the same first note worked. I guess it does haha.
Really love your content. You are a great teacher, you make sometimes very complicated subjects, like modulation, and how to achieve it, easy to understand. Thats the sign of a great teacher!
This was really helpful - thank you Anne. (And welcome back!)
This is so helpful. Thank you for this tutorial.
I like to use common tones between sections even if they don't modulate. Although my application of these tutorials may be rather different than orchestral works I always get some useful information out of them. Looking forward to the next one 🙂
Missed your videos! As always, super helpful for hobbyists like me to see clear examples of fundamentals. Thank you!
Wow, some great modulation strategies - the German 5-6 was a totally new one for me!
Hey Anne, I heard your contribution to a Hallmark episode my wife was watching, great job. I even told my that I knew you lol. Keep doing what you’re doing,sounds great.👍
Très bon, et l'exemple mélodique utilisé est magnifique.
TVery good, and the melodic example used is magnificent.
That German 5-6 chord approach is just a straight-up tritone substitution. For a little extra spice, you can flatten the 5th to give it more of an altered dominant sound and provide a shared tone between pivot and destination. :) Jazz musicians are very familiar with that technique.
Happy to see a video from you again, so much valuable information in here (as always)!