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When talking about circles of fifths we
consider those that could help

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you to modulate, i.e, to move the music to
another key, and

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I'd like to think a little but more about
this, modulation is

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a very important concept in music, means
going from one key to another.

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Music would be very boring, boring and
dull.

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If pieces remained in the same key all the
time.

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So we find that modulations occur a lot in
music, sometimes a great deal.

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And this keeps the music interesting, and
gives

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us a feeling, that we're moving on
somewhere.

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The commonest modulation, that you often
hear, quite near

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the beginning of a piece is to the
dominant.

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So for example, a piece in F major might

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move to C major quite soon in the, its
course.

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So for example, the well known Christmas
Carol, While

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Shepherds Watch Their Flocks By Night goes
like this.

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[MUSIC]

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And we're now in the dominant of C major.

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If you really wanted, you could even
modulate

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that to A minor, it would sound like this.

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[MUSIC]

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Now it sounds slightly more forced,
perhaps not quite so natural.

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But anyway, the, that illustrates the
concept

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of modulation; going to a different key.

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s, these are quite definite modulations;
where

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the new key is established quite firmly.

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But we also find many instances of.

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Keys simply being hinted at.

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Rather than a true modulation taking
place.

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We find that a key is suggested.

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And again, this gives the music interest.

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And means that we feel we're moving
somewhere.

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And one of the commonest of these involves
a chord, which we usually call this.

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Secondary dominant, which means a dominant
7th of dominant generally.

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And you find this towards the end of a
piece, as

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I said gives greater color, greater
variety to the chord progression.

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And can again, make the cadence sound more
final, and more satisfying,.

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If for example, we return to the
progression

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already mentioned, iib7, V, I, that
sounded like this.

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[SOUND] That's iib7, V, I in G Major.

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If we make one alteration.

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In the bass.

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Rather than C natural

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[MUSIC],

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if we change that to a C sharp

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[MUSIC],

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it sounds like this

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[MUSIC].

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What we've created there is actually the
dominant 7th in the key of D major.

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[MUSIC]

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But in this case, it doesn't go to D
major, it just suggests D major and goes-

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[MUSIC]

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immediately to G.

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But you get that extra color.

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And so its hinting at a new key but not
actually modulating to it.

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Many composers have used this, Bach is an
example, for example

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the choral "Wie schon leuchter der morgenstern" ends
like this.

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[MUSIC]

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He could have ended.

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[MUSIC]

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And that would sound perfectly good, but
this added secondly dominant.

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Makes it just a bit more interesting.

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[MUSIC]

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Where we've hinted at another key, without
actually modulating.

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Another

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example of the secondary dominant.

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And can be found in the tune Blackbird
which ends

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[MUSIC]

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There we're in g major and the third last
chord is the secondary dominant.

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Which suggests.

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Again, D major, but actually-

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[MUSIC]

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immediately comes back to G.

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So here it is again.

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[MUSIC]

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A move to the sub-dominant key often
occurs later in the piece.

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Because it helps emphasize the feeling of
coming home.

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Sometimes composers actually modulate to
the sub-dominant,

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other times they simply hint at it.

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If we're in the key of C.

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[MUSIC]

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The sub-dominant chord is F.

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[MUSIC]

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The sub-dominant scale involves the note B
flat.

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[MUSIC]

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And if we want to give the feeling of
having moved

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to the sub-dominant that B flat is an
important note to introduce.

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So for example, if you were towards the
end

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of a piece in cee, you might hear this.

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[MUSIC]

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By introducing that B flat, which is one
of

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the notes of the scale of f, the
sub-dominant.

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[MUSIC]

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And doesn't enter into the scale of C.

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[MUSIC]

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That B flat helps you to think you're.

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to, that B flat gives you the flavor of
the sub-dominant.

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So here's the progression again.

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[MUSIC]

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And you find this quite frequently towards
the end of pieces.

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Either of a hint of the sub-dominant, or
something slightly stronger.

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A famous example of it can be heard
towards the end of the prelude by Bach.

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The prelude in C from book one of the 48
preludes and fugues.

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And he introduces the B flat just towards
the end, to give the feeling of.

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Hinting at F major, not actually going to
F major; but hinting at it.

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And thus giving a sub-dominant leaning as
we sometimes call it.

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So the chords at the end of this piece
sound like this.

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[MUSIC]

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00:07:06,170 --> 00:07:07,280
Once again.

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[MUSIC]

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And we'll finish by hearing the complete
prelude in C, played

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on harpsichord, as it would have been in
Bach's own day.

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[MUSIC]

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[BLANK_AUDIO]