1 00:00:07,281 --> 00:00:09,852 Okay, so looking at the forms I'm looking at. 2 00:00:09,852 --> 00:00:11,366 Facebook [SOUND] and 3 00:00:11,366 --> 00:00:17,999 [COUGH] Twitter et cetera it seems obvious that some people would benefit from. 4 00:00:17,999 --> 00:00:22,206 Just a wee bit of an intro video about modulations and, 5 00:00:22,206 --> 00:00:25,760 talking about how music changes key. 6 00:00:25,760 --> 00:00:29,710 Hm, and some of the ways in which it does that. 7 00:00:29,710 --> 00:00:31,700 So, that's what I'm going to do for you just now. 8 00:00:31,700 --> 00:00:36,630 What I want to say, very, very, very, clearly is, a little disclaimer. 9 00:00:36,630 --> 00:00:37,450 And that is. 10 00:00:38,470 --> 00:00:39,370 That. 11 00:00:39,370 --> 00:00:42,630 What I'm going to do for you just now is, in no way, 12 00:00:42,630 --> 00:00:46,500 an in depth or a thorough, explanation of modulations. 13 00:00:46,500 --> 00:00:50,680 Neither is it a kind of, perfect guide to how music should modulate. 14 00:00:50,680 --> 00:00:53,420 What I'm going to do, in this little section is I'm just going to show you 15 00:00:53,420 --> 00:00:56,230 some chords on the piano, and I'm going to show you, 16 00:00:56,230 --> 00:01:00,484 some common ways that music will start to change key. 17 00:01:00,484 --> 00:01:05,550 [COUGH] What we'll try and do is provide some extra resources for people who 18 00:01:05,550 --> 00:01:08,850 want to go into this more in depth, but, really this is just a quick way for 19 00:01:08,850 --> 00:01:12,090 me to go through it and talk to you about it, and highlight some interesting things 20 00:01:12,090 --> 00:01:16,730 that, crop up that you'll hopefully be able to apply to your, final assessment. 21 00:01:18,250 --> 00:01:20,284 So, what I'm going to do first of all [COUGH]. 22 00:01:20,284 --> 00:01:22,390 [MUSIC] Actually you can also say that I'm. 23 00:01:22,390 --> 00:01:24,180 And, by no means a piano player. 24 00:01:24,180 --> 00:01:27,240 I'm a saxophone player that kind of knows what the buttons are called. 25 00:01:27,240 --> 00:01:29,090 That's about as far as I can go from my piano playing. 26 00:01:29,090 --> 00:01:31,490 But, what I'm going to do is, I'm going to play a chord generally speaking, 27 00:01:31,490 --> 00:01:32,810 I'm going to play them in root position. 28 00:01:32,810 --> 00:01:33,961 Hopefully you'll see. 29 00:01:33,961 --> 00:01:36,835 Roughly what it is that I'm doing. 30 00:01:36,835 --> 00:01:40,013 But, what I'm going to say first of all, is I'm going to play some chords. 31 00:01:40,013 --> 00:01:42,001 [MUSIC] 32 00:01:42,001 --> 00:01:44,522 In the key of C, without changing key, [SOUND] and 33 00:01:44,522 --> 00:01:47,424 I'll talk through what I'm doing while I'm doing it. 34 00:01:47,424 --> 00:01:48,520 [MUSIC] 35 00:01:48,520 --> 00:01:50,097 So I'm playing chord one in a key of C. 36 00:01:50,097 --> 00:01:51,150 So 37 00:01:51,150 --> 00:01:53,518 [MUSIC] 38 00:01:53,518 --> 00:01:55,139 Four, which is chord F. 39 00:01:55,139 --> 00:01:57,478 [MUSIC] 40 00:01:57,478 --> 00:01:58,413 Chord three. 41 00:01:58,413 --> 00:02:00,524 [MUSIC] 42 00:02:00,524 --> 00:02:02,765 D Minor, chord two which is D Minor. 43 00:02:02,765 --> 00:02:05,440 [MUSIC] 44 00:02:05,440 --> 00:02:09,566 Then chord five which is G, turn a knot to G7, which 457. 45 00:02:09,566 --> 00:02:11,032 [MUSIC] 46 00:02:11,032 --> 00:02:16,625 And you can feel the pull that wants to bring us back to one chord, 47 00:02:16,625 --> 00:02:18,086 but our C chord. 48 00:02:18,086 --> 00:02:20,448 [SOUND] Hopefully heard that and hopefully you, 49 00:02:20,448 --> 00:02:24,001 you've got a rough idea of what I was doing there as I was going through. 50 00:02:24,001 --> 00:02:25,270 Now you felt the pool. 51 00:02:25,270 --> 00:02:29,151 [MUSIC] Strengthen [SOUND] when we played the G7 52 00:02:29,151 --> 00:02:33,277 chord to take us back to [SOUND] the C major chord. 53 00:02:33,277 --> 00:02:37,431 Now because of that pull ,and because of the fact that that dominant to dominant 54 00:02:37,431 --> 00:02:41,771 pull is so strong, we can, we can kind of be a little bit cheeky and we can use that 55 00:02:41,771 --> 00:02:46,890 to exploit people, and to that the music wants to move in different directions. 56 00:02:46,890 --> 00:02:47,588 So I put chord five. 57 00:02:47,588 --> 00:02:48,374 [MUSIC] 58 00:02:48,374 --> 00:02:50,119 And chord. 59 00:02:50,119 --> 00:02:52,288 [MUSIC] 60 00:02:52,288 --> 00:02:54,108 Chord five. 61 00:02:54,108 --> 00:03:00,243 And then chord five, seven, to take us back to the key of C. 62 00:03:00,243 --> 00:03:03,610 The chord of C. 63 00:03:03,610 --> 00:03:05,392 Okay, so what I did was played chord five. 64 00:03:05,392 --> 00:03:07,488 [MUSIC] 65 00:03:07,488 --> 00:03:09,933 Then chord five, seven. 66 00:03:09,933 --> 00:03:10,989 And then head. 67 00:03:10,989 --> 00:03:11,792 [MUSIC] 68 00:03:11,792 --> 00:03:14,020 To that one that took us back to the key of C. 69 00:03:14,020 --> 00:03:16,900 But because chord five is the dominant chord, 70 00:03:16,900 --> 00:03:19,100 it wants to pull us back to the tonic. 71 00:03:19,100 --> 00:03:24,560 Now what happens if we build a dominant chord, on a different degree of the scale. 72 00:03:24,560 --> 00:03:27,280 Well, the feel of the dominant chord and 73 00:03:27,280 --> 00:03:29,680 the sound of the dominant chord wants to bring us back to. 74 00:03:30,690 --> 00:03:32,522 A tonic. 75 00:03:32,522 --> 00:03:36,380 But, if we build it on a different degree of the scale it doesn't want to bring us 76 00:03:36,380 --> 00:03:39,964 back to one, or not the one in the key that we're already thinking about. 77 00:03:39,964 --> 00:03:41,951 So let's have a little look at this one. 78 00:03:41,951 --> 00:03:47,987 [MUSIC] 79 00:03:47,987 --> 00:03:49,520 Just chord one and chord four. 80 00:03:49,520 --> 00:03:56,306 [MUSIC] 81 00:03:56,306 --> 00:04:04,827 C F, C, F. 82 00:04:04,827 --> 00:04:09,997 Back to C turn that in to C7. 83 00:04:09,997 --> 00:04:12,026 [MUSIC] 84 00:04:12,026 --> 00:04:15,248 And then play that F again. 85 00:04:15,248 --> 00:04:17,385 The thing where you're here or there, is we're at a C chord. 86 00:04:17,385 --> 00:04:21,900 We turned it into C7 chord by adding this B-flat, and 87 00:04:21,900 --> 00:04:24,462 all of a sudden that had a pull. 88 00:04:24,462 --> 00:04:27,234 That became a dominant seventh chord, and 89 00:04:27,234 --> 00:04:30,315 it wanted to pull us back to the tonic of its key. 90 00:04:30,315 --> 00:04:35,974 Now, NC if we turn that into C7 that becomes five 91 00:04:35,974 --> 00:04:41,644 over key which gives it become five of, [SOUND] F. 92 00:04:41,644 --> 00:04:43,405 Okay so let's try another one then. 93 00:04:43,405 --> 00:04:44,368 We're on key C. 94 00:04:44,368 --> 00:04:46,770 [MUSIC] 95 00:04:46,770 --> 00:04:50,689 And what I'm going to do is I'm going to place, C part one. 96 00:04:52,050 --> 00:04:55,980 Then A minor, which is chord six. 97 00:04:57,440 --> 00:04:59,070 Then I'm going to play chord two. 98 00:05:00,670 --> 00:05:01,470 Then five. 99 00:05:03,190 --> 00:05:05,832 It feels like it needs to fill back to, one. 100 00:05:05,832 --> 00:05:08,796 [MUSIC] 101 00:05:08,796 --> 00:05:09,832 Okay? 102 00:05:09,832 --> 00:05:12,977 Next thing what I'm going to do is I'm going to play chord one, C. 103 00:05:12,977 --> 00:05:15,961 [MUSIC] 104 00:05:15,961 --> 00:05:16,821 Then A minor. 105 00:05:16,821 --> 00:05:20,250 [MUSIC] 106 00:05:20,250 --> 00:05:22,750 I'm going to play chord two, but 107 00:05:22,750 --> 00:05:28,532 then I'm going to turn that into a dominant chord, so now we've got D7. 108 00:05:28,532 --> 00:05:30,250 We were starting out with the key of C, 109 00:05:30,250 --> 00:05:34,193 we've got chord two, and that chord two's now been made into dominant second chord. 110 00:05:34,193 --> 00:05:37,672 And that's now chord five of something. 111 00:05:37,672 --> 00:05:39,827 Well, it's actually chord five of G. 112 00:05:39,827 --> 00:05:41,026 [MUSIC] 113 00:05:41,026 --> 00:05:42,065 And it wants to pull us back to G. 114 00:05:42,065 --> 00:05:42,694 So listen again. 115 00:05:42,694 --> 00:05:43,212 Chord one. 116 00:05:43,212 --> 00:05:43,835 In the key of C. 117 00:05:43,835 --> 00:05:44,697 Back to chord one. 118 00:05:44,697 --> 00:05:47,455 [MUSIC] 119 00:05:47,455 --> 00:05:48,406 Six. 120 00:05:48,406 --> 00:05:51,592 [MUSIC] 121 00:05:51,592 --> 00:05:52,381 Chord two. 122 00:05:52,381 --> 00:05:55,584 [MUSIC] 123 00:05:55,584 --> 00:05:57,749 Time to enter dominant seventh chord, 124 00:05:57,749 --> 00:06:01,433 feel it's got a real new strong pull that wants to take us back to G. 125 00:06:01,433 --> 00:06:04,544 [SOUND] Now when it gets to G, that feels like the new tonic. 126 00:06:04,544 --> 00:06:10,650 So that's our way of modulating from the key of C to G, which is the dominant. 127 00:06:10,650 --> 00:06:12,420 So it's our way of modulating to the dominant. 128 00:06:13,500 --> 00:06:14,590 Okay. 129 00:06:14,590 --> 00:06:17,471 Let's try another one. We're in the key of C. 130 00:06:17,471 --> 00:06:19,388 And we're going to, this time, go C. 131 00:06:19,388 --> 00:06:21,384 [MUSIC] 132 00:06:21,384 --> 00:06:26,913 A minor, C, A minor. 133 00:06:26,913 --> 00:06:27,790 Just chord one, chord six. 134 00:06:27,790 --> 00:06:28,661 Chord one, chord six. 135 00:06:28,661 --> 00:06:33,145 And you've probably heard that in a million pop and rock ballads type tracks. 136 00:06:33,145 --> 00:06:34,027 So we've got chord one. 137 00:06:34,027 --> 00:06:39,011 [MUSIC] 138 00:06:39,011 --> 00:06:41,804 C, A Minor. 139 00:06:41,804 --> 00:06:43,807 And that could happily run round forever, and 140 00:06:43,807 --> 00:06:47,106 it doesn't ever feel like that the A Minor's got any strong pull to it. 141 00:06:47,106 --> 00:06:48,068 In fact, if anything. 142 00:06:48,068 --> 00:06:49,618 [MUSIC] 143 00:06:49,618 --> 00:06:51,660 When we hear the A Minor, it wants to pull us back to C. 144 00:06:51,660 --> 00:06:53,716 Okay, so let's work, kind of the other way around here. 145 00:06:53,716 --> 00:06:56,744 Let's say we want to make [SOUND] A Minor our new tonic. 146 00:06:56,744 --> 00:06:58,829 A Minor is the relative minor of C, so 147 00:06:58,829 --> 00:07:03,090 this would be us trying to modulate to the relative minor. 148 00:07:03,090 --> 00:07:04,910 Well, how are we going to do that? 149 00:07:04,910 --> 00:07:08,750 Well, okay, we need to think, because we are talking about this strong tonic and 150 00:07:08,750 --> 00:07:11,980 dominant pull, we need to create some sort of dominant pull. 151 00:07:11,980 --> 00:07:15,040 We need to create a nice dominant seventh chord before the E, 152 00:07:15,040 --> 00:07:18,150 to make it feels like the tonic, to use the, the musical terminology. 153 00:07:18,150 --> 00:07:21,230 To tonicize it, to make it feel like the new tonic. 154 00:07:22,600 --> 00:07:25,801 So, we need to work out what is the first degree of A. 155 00:07:25,801 --> 00:07:28,619 So we can have a nice five, one cadence back down to. 156 00:07:28,619 --> 00:07:31,138 Well, A, B, C, D, E. 157 00:07:31,138 --> 00:07:35,551 So E no the key of C of original key E [SOUND] would be a minor chord or 158 00:07:35,551 --> 00:07:37,231 a minor seventh chord. 159 00:07:37,231 --> 00:07:42,161 If we, [SOUND] make that into a dominant seventh chord by changing the, 160 00:07:42,161 --> 00:07:46,437 [SOUND] G to a G-sharp that then has a nicer feel to the A minor. 161 00:07:46,437 --> 00:07:47,554 So listen we've got one. 162 00:07:47,554 --> 00:07:50,133 [MUSIC] 163 00:07:50,133 --> 00:07:51,915 Which is C to A minor. 164 00:07:51,915 --> 00:07:55,452 [MUSIC] 165 00:07:55,452 --> 00:07:57,828 Doesn't feel like any strong feel to the A minor. 166 00:07:57,828 --> 00:07:59,406 [MUSIC] So, 167 00:07:59,406 --> 00:08:01,471 [MUSIC] 168 00:08:01,471 --> 00:08:06,090 this time let's do chord I, which is C. 169 00:08:06,090 --> 00:08:07,352 For two it's D minor, 170 00:08:07,352 --> 00:08:09,297 [MUSIC] 171 00:08:09,297 --> 00:08:09,983 for three, 172 00:08:09,983 --> 00:08:12,540 [MUSIC] 173 00:08:12,540 --> 00:08:13,623 for another, for dominant chords. 174 00:08:13,623 --> 00:08:17,369 [MUSIC] 175 00:08:17,369 --> 00:08:20,384 And hear our strong chord back to A minor as our new tonic, and 176 00:08:20,384 --> 00:08:23,770 that's something we can modulate to our relative minor. 177 00:08:23,770 --> 00:08:28,432 So we'd have C, [SOUND] code one, [SOUND] if we turn that into dominant chords, 178 00:08:28,432 --> 00:08:31,179 [SOUND] it wants to take us to the sub dominant. 179 00:08:31,179 --> 00:08:33,577 [SOUND]. If we've got second key of C, 180 00:08:33,577 --> 00:08:38,225 if we've got chord two, become [SOUND] a dominant seventh chord and 181 00:08:38,225 --> 00:08:41,048 want to take us to, [SOUND] our dominant. 182 00:08:41,048 --> 00:08:45,171 And C, [SOUND] if we've got chord three becoming an, 183 00:08:45,171 --> 00:08:50,244 [SOUND] a dominant chord that wants to take us to a relative minor. 184 00:08:50,244 --> 00:08:53,742 Now as I say, this is by no means an exhaustive or 185 00:08:53,742 --> 00:08:59,620 thorough definition of Can demonstration of modulation, 186 00:08:59,620 --> 00:09:02,340 but, hopefully it's a nicer way to set up what I'm going to 187 00:09:02,340 --> 00:09:05,450 talk you about next in the video, and hopefully it will be a good way for 188 00:09:05,450 --> 00:09:09,690 you to start spotting these things when you're looking at your own written music. 189 00:09:09,690 --> 00:09:13,110 >> Some people at this point at this point might already have 190 00:09:13,110 --> 00:09:17,540 grasped what we're trying to talk about or why we've got. 191 00:09:17,540 --> 00:09:22,946 Some chords that don't belong to key that were in, the drawer that use the type 192 00:09:22,946 --> 00:09:28,710 of different part of the scale or the different part of the key or 193 00:09:28,710 --> 00:09:32,430 the drawing of different key or skill together. 194 00:09:32,430 --> 00:09:37,330 I just showed you some common ways that Music can 195 00:09:37,330 --> 00:09:42,170 modulate the different related areas of different or areas that are commonly moved 196 00:09:42,170 --> 00:09:46,010 towards such as the subdominant and the dominant or the relative minor. 197 00:09:46,010 --> 00:09:49,850 But, what I want to say is that this is no way an exhaustive or 198 00:09:49,850 --> 00:09:53,850 thorough description or demonstration of modulation. 199 00:09:53,850 --> 00:09:56,949 It's just a way for me to highlight a few things that I think are important. 200 00:09:58,030 --> 00:10:02,550 Based on the information that we've learned in the course so 201 00:10:02,550 --> 00:10:05,020 for, but also based on some of the things that you might need to look out for 202 00:10:05,020 --> 00:10:08,760 when you're looking at printing music, and you're analyzing it, such as in your final 203 00:10:08,760 --> 00:10:14,830 exam, or indeed in your own practice or your own kind of musical life. 204 00:10:14,830 --> 00:10:18,520 So, I just really want to make that point that this isn't thorough. 205 00:10:18,520 --> 00:10:19,380 This isn't exhaustive. 206 00:10:19,380 --> 00:10:21,470 It is just an introduction, and 207 00:10:21,470 --> 00:10:25,600 hopefully just a way to start pointing you in the direction of some things that will 208 00:10:25,600 --> 00:10:30,900 be useful to you as you go through the rest of this course and beyond. 209 00:10:32,940 --> 00:10:36,110 So, I want to just spend a wee bit of time, really pointing this out, 210 00:10:36,110 --> 00:10:39,710 really looking it up on a stave, really showing what's happening, 211 00:10:39,710 --> 00:10:42,510 what notes have been changed, how are these notes been changed and 212 00:10:42,510 --> 00:10:47,070 why are they having the effect on our ears that they seem to. 213 00:10:48,830 --> 00:10:52,570 And, before I do that, what I want to do is just really go, go back and look at it. 214 00:10:52,570 --> 00:10:53,950 In the key of C. 215 00:10:53,950 --> 00:10:56,683 'because really what we're, starting to see here, 216 00:10:56,683 --> 00:11:01,171 is that this dominant, this five, seven chord in the middle is quite important, 217 00:11:01,171 --> 00:11:03,729 because it does have a strong pull on our ears. 218 00:11:03,729 --> 00:11:10,139 It does have a kind of psychological psycho-acoustic, but 219 00:11:10,139 --> 00:11:14,810 also kind of, cultural impact on us. 220 00:11:14,810 --> 00:11:16,880 It really makes us want to hear. 221 00:11:16,880 --> 00:11:18,500 A particular chord afterwards. 222 00:11:18,500 --> 00:11:21,980 So when we're in the key of C, as I started with in the video, 223 00:11:21,980 --> 00:11:26,030 we've got a C major chord here as our chord one, in the key of C. 224 00:11:26,030 --> 00:11:28,470 Then we've got our one, one chord here. 225 00:11:28,470 --> 00:11:32,550 And then we're returning to our C major chord here. 226 00:11:32,550 --> 00:11:35,280 So what I've done here is I've just built up a progression. 227 00:11:35,280 --> 00:11:36,640 One, five, seven, one. 228 00:11:38,640 --> 00:11:39,640 I'm going to play that to you. 229 00:11:39,640 --> 00:11:43,590 You really heard that there was strong pull from the five to the one. 230 00:11:43,590 --> 00:11:47,359 And it's actually, when, when we're thinking about modula, 231 00:11:47,359 --> 00:11:51,530 modulating, this is one of the kind of the important things we draw on. 232 00:11:51,530 --> 00:11:55,080 We draw on the fact that five, seven chord has such a strong pull. 233 00:11:55,080 --> 00:12:00,959 That specific chord or that specific, pitch for our use. 234 00:12:00,959 --> 00:12:05,330 That it's, it's a really good way to, 235 00:12:05,330 --> 00:12:08,650 to make your ears go in a different direction. 236 00:12:08,650 --> 00:12:11,430 You'll see what I mean here. 237 00:12:11,430 --> 00:12:14,050 We're in the key of C, we've got our C-E-G. 238 00:12:14,050 --> 00:12:15,780 Then we've got our G-B-D-F. 239 00:12:15,780 --> 00:12:17,950 And then back to C-E-G. 240 00:12:17,950 --> 00:12:18,590 And that's one, five, one. 241 00:12:18,590 --> 00:12:23,970 And this chord, this five chord really wants to pull to X1 chord. 242 00:12:23,970 --> 00:12:29,440 And when I say X1 chord, what I mean by that is dominant chords are always 243 00:12:29,440 --> 00:12:34,980 called five, and it's wanting to pull us back to chord one in that same key. 244 00:12:34,980 --> 00:12:37,799 Now, let's look at that, next example 'because what 245 00:12:37,799 --> 00:12:42,523 dominant chords are always chord 5, and that's important because these are, 246 00:12:42,523 --> 00:12:47,472 dominant to tonic two that were playing on here and making those modulations. 247 00:12:47,472 --> 00:12:50,070 But how you describe it is a different example. 248 00:12:50,070 --> 00:12:53,010 So, let's look at this example we've got the, 249 00:12:53,010 --> 00:12:55,330 key signature for C major, and we've got the chord. 250 00:12:58,070 --> 00:13:02,527 One in C is that chord, one [SOUND] in C. 251 00:13:02,527 --> 00:13:05,148 And that shouldn't go in as much. 252 00:13:05,148 --> 00:13:11,748 But what we've got in the next part is C, E, [SOUND] G and B-flat. 253 00:13:11,748 --> 00:13:14,520 This is a major trap with a major seventh build. 254 00:13:14,520 --> 00:13:17,840 So what we have is a C7. 255 00:13:19,180 --> 00:13:28,261 Now clearly C7, C dominant seven is not the dominant of, and the key of C. 256 00:13:28,261 --> 00:13:29,833 G7 would be. 257 00:13:29,833 --> 00:13:31,428 Now in this case we've got C7, so 258 00:13:31,428 --> 00:13:34,950 what we've done here, is we've brought in an accident B-flat to change. 259 00:13:36,350 --> 00:13:36,900 Into a dominant chord. 260 00:13:36,900 --> 00:13:44,100 And what we can see is because that C7 is there, that we can think of that as being 261 00:13:44,100 --> 00:13:49,390 effect chord of something else, because dominant chords are always about 1 to 5. 262 00:13:49,390 --> 00:13:50,109 In the fifth degree. 263 00:13:52,280 --> 00:13:58,400 So, because of that, this C7 wants to pull to its, one chord. 264 00:13:58,400 --> 00:14:02,370 Well, if C7 is five, what is one? 265 00:14:02,370 --> 00:14:04,720 Work backward, C, B flat, A, G, F. 266 00:14:04,720 --> 00:14:08,120 Okay. So, we've got, F. 267 00:14:08,120 --> 00:14:10,770 This C7 wants to pull us, to this chord here, which is an F. 268 00:14:10,770 --> 00:14:11,620 Now, as I said. 269 00:14:13,310 --> 00:14:14,930 C7 wouldn't be in the key of C, 270 00:14:14,930 --> 00:14:18,570 so this is what we describe as our secondary dominant. 271 00:14:18,570 --> 00:14:21,300 It's a, or a dominant, if you want to use that terminology. 272 00:14:21,300 --> 00:14:27,160 It's a dominant chord that is being used to make another, 273 00:14:27,160 --> 00:14:31,040 to make our ears want to pull towards another key. 274 00:14:31,040 --> 00:14:32,840 Another scale. 275 00:14:32,840 --> 00:14:37,720 And in that sense we describe that as in an important chord because what it 276 00:14:37,720 --> 00:14:39,320 does is it tonisizes F. 277 00:14:39,320 --> 00:14:41,680 It makes F feel like the tonic. 278 00:14:41,680 --> 00:14:46,611 [SOUND] And that might be temporary, [SOUND] and it might be short lived, and 279 00:14:46,611 --> 00:14:50,919 what we might want to do, [SOUND] is describe this as five or four. 280 00:14:50,919 --> 00:14:51,562 [SOUND] And 281 00:14:51,562 --> 00:14:56,878 then you've got this chord here which is four, if we're still in the key of C. 282 00:14:56,878 --> 00:14:59,055 And that's absolutely fine unless five or 283 00:14:59,055 --> 00:15:01,900 four is calling, to have that slash in the middle. 284 00:15:01,900 --> 00:15:05,830 Because what that's doing is it's saying it's a secondary dominant. 285 00:15:05,830 --> 00:15:08,580 It's chord five of the scale or key that we can build on. 286 00:15:08,580 --> 00:15:10,180 The fourth to be of our, original. 287 00:15:11,870 --> 00:15:12,370 Key. 288 00:15:13,830 --> 00:15:18,569 But, [SOUND] actually it's just happening for a very short period of time. 289 00:15:18,569 --> 00:15:23,040 We come back to five and it makes sense to relate five but original tonic. 290 00:15:23,040 --> 00:15:26,390 If this was happening for a longer period of time and 291 00:15:26,390 --> 00:15:28,340 it was a bit of a feature in the music. 292 00:15:28,340 --> 00:15:31,905 Be perfectly acceptable to say okay, this is five [SOUND] in F, 293 00:15:31,905 --> 00:15:35,828 and what that's doing is stating that the music has, changed key. 294 00:15:35,828 --> 00:15:38,423 And then obviously this, [SOUND] is our new one. 295 00:15:38,423 --> 00:15:40,400 F is our new one. 296 00:15:40,400 --> 00:15:45,530 If we were going to be describing this as a significant and long term key change. 297 00:15:45,530 --> 00:15:49,170 When you're doing this in your analysis and when you're doing this in, your exams. 298 00:15:49,170 --> 00:15:52,834 Or even when you're just doing this out in, out in the real world and 299 00:15:52,834 --> 00:15:56,436 you try to understand what's happening with this piece of music, 300 00:15:56,436 --> 00:15:58,428 you've got to make a decision as to, 301 00:15:58,428 --> 00:16:02,480 whether these have changed key over a lot period time as per this notation or 302 00:16:02,480 --> 00:16:06,760 if it was just a very short period of time you may want to use this notation. 303 00:16:06,760 --> 00:16:09,338 [SOUND] Whereby we say this is one and C yes, 304 00:16:09,338 --> 00:16:14,216 okay this is step out of the key of C but it doesn't make a great deal of sense to. 305 00:16:14,216 --> 00:16:16,360 Don't rock the boat too much in our analysis. 306 00:16:16,360 --> 00:16:21,096 So we're just going to say that this is actually called five of the fourth chord, 307 00:16:21,096 --> 00:16:25,520 chord four, and then, that this is just returning to chord four. 308 00:16:25,520 --> 00:16:28,490 Completely up to you, do what you feel is more suitable in, 309 00:16:28,490 --> 00:16:32,490 the, any given context, but both ways are open to you. 310 00:16:32,490 --> 00:16:36,820 And hopefully you're understanding that actually this is, 311 00:16:36,820 --> 00:16:39,460 not the dominant chord that we would expect to see, and, 312 00:16:39,460 --> 00:16:44,184 as a result, what that does, is it moves all the ears to a different place. 313 00:16:44,184 --> 00:16:49,640 And actually, [SOUND] because it's a dominant chord it is 5 of something it 314 00:16:49,640 --> 00:16:55,268 down sizes it's own one, [SOUND] okay so let's look at this next example I've 315 00:16:55,268 --> 00:17:00,750 got for you so again here we've got again the key signature of C major. 316 00:17:00,750 --> 00:17:04,060 So, that's no sharps or flats, and we've got a C major chord. 317 00:17:04,060 --> 00:17:06,170 So, we can see that this is one in the key of C. 318 00:17:06,170 --> 00:17:10,895 That shouldn't be too upsetting or too much of a, a shock to anybody. 319 00:17:10,895 --> 00:17:13,120 [SOUND] Let's look at this next chord. 320 00:17:13,120 --> 00:17:19,350 I've labelled that as (ii), lower case (ii) because it's a D, an F, and an A. 321 00:17:19,350 --> 00:17:22,460 And then we've got other Ds in there, but D-F-A is it's individual notes. 322 00:17:22,460 --> 00:17:26,430 That's a minor triad, built on the second degree, so that's chord (ii), 323 00:17:26,430 --> 00:17:27,940 that's D minor. 324 00:17:27,940 --> 00:17:31,250 So it's chord (ii) in the key of C. 325 00:17:31,250 --> 00:17:33,490 Now what I've done to this chord here is I've changed it, 326 00:17:33,490 --> 00:17:37,080 so that we've got a major third, and a minor seventh. 327 00:17:37,080 --> 00:17:39,590 So again this is a dominant seventh. 328 00:17:39,590 --> 00:17:42,460 So what we've got here just to show you on screen is a D7. 329 00:17:42,460 --> 00:17:47,690 Now what we're saying there is D7, well D is the second degree of the scale, so 330 00:17:47,690 --> 00:17:50,830 dominant chord built on the second degree. 331 00:17:50,830 --> 00:17:53,820 We know that we don't get dominant chords built on the second degree if we're 332 00:17:53,820 --> 00:17:58,440 in the same key, so, this signals that we have had a key change. 333 00:17:58,440 --> 00:18:03,351 There's some sort of modulation, something's happened. 334 00:18:03,351 --> 00:18:06,980 So, this D7, as we've said, dominant, is a dominant chord. 335 00:18:06,980 --> 00:18:12,020 And dominant chords want to resolve to the one. 336 00:18:12,020 --> 00:18:15,330 So if dominate chords are five, it wants to resolve to its own one. 337 00:18:15,330 --> 00:18:18,590 Well, what is D7 the five of? 338 00:18:18,590 --> 00:18:22,060 D7 is the 5, chord 5 of G. 339 00:18:22,060 --> 00:18:22,834 Okay? 340 00:18:22,834 --> 00:18:29,670 Okay what we've got here is one, two, three dominant. 341 00:18:29,670 --> 00:18:30,570 Okay, so we've got a D7, 342 00:18:30,570 --> 00:18:35,250 a seventh chord built on the second degree, resolve into G. 343 00:18:35,250 --> 00:18:40,140 And I'll just put that in so you can see, what's going on. 344 00:18:40,140 --> 00:18:41,250 Okay? 345 00:18:41,250 --> 00:18:42,770 But, how do we go about analyzing this? 346 00:18:42,770 --> 00:18:44,300 Well, yeah, this is one, this is two. 347 00:18:45,900 --> 00:18:47,610 This, is a (v) chord. 348 00:18:47,610 --> 00:18:49,730 And this actually. 349 00:18:49,730 --> 00:18:52,760 The fifth chord of our own (v). 350 00:18:52,760 --> 00:18:57,730 And by our own 5, I mean, 5 in the key that we initially started in. 351 00:18:57,730 --> 00:19:03,550 So D7 is called 5, of G, which is the fifth of C. 352 00:19:03,550 --> 00:19:06,720 So, what we can see here is that this is. 353 00:19:06,720 --> 00:19:08,657 1, [SOUND] C major is 1. 354 00:19:08,657 --> 00:19:11,994 The D minor is (ii) going to type it properly with the lower case 355 00:19:11,994 --> 00:19:14,060 roman numerals because it's minor. 356 00:19:14,060 --> 00:19:16,309 Then we've got (v/v). 357 00:19:16,309 --> 00:19:20,201 This is our secondary dominant and then we've got (v). 358 00:19:20,201 --> 00:19:21,685 Okay? 359 00:19:21,685 --> 00:19:25,534 But, again, because strictly speaking, what's happened is we've changed key, 360 00:19:25,534 --> 00:19:27,511 what we could see, if this was happening for 361 00:19:27,511 --> 00:19:30,950 a longer period of time again as I say, if this was going to be a feature. 362 00:19:30,950 --> 00:19:35,510 And if the significant portion of, of what was happening and the, 363 00:19:35,510 --> 00:19:38,440 the rest of the music was going to be in this key, it may make. 364 00:19:38,440 --> 00:19:40,860 It's more sense to state this as a key change. 365 00:19:40,860 --> 00:19:44,690 And so okay well now I'm looking at these chords in terms of G because the, 366 00:19:44,690 --> 00:19:46,850 the overall context has changed. 367 00:19:46,850 --> 00:19:53,430 We're now in the key of G so what we can say is that this D7 is actually 5 and G. 368 00:19:53,430 --> 00:19:57,360 And the, because we note signal to change in the way that we're writing it, 369 00:19:57,360 --> 00:19:59,940 this is now in the key of G. 370 00:19:59,940 --> 00:20:00,490 Okay? So 371 00:20:00,490 --> 00:20:03,380 these are very short examples, very small examples and they're, 372 00:20:03,380 --> 00:20:09,080 they really are a, microcosm because I've just boiled it down into a really basic. 373 00:20:09,080 --> 00:20:11,110 Progression of sound waves here. 374 00:20:11,110 --> 00:20:12,820 But again, you want to take that away, 375 00:20:12,820 --> 00:20:17,520 you want to think about these ideas and really, decide what you think is best for 376 00:20:17,520 --> 00:20:22,540 when you're noting your your scores, or when 377 00:20:22,540 --> 00:20:27,000 you're thinking about music in, in your own practice, in your own musical world. 378 00:20:28,020 --> 00:20:30,610 So, again, either of these would be absolutely fine. 379 00:20:30,610 --> 00:20:33,550 Now what I'm going to do is hurry this along a little bit now. 380 00:20:33,550 --> 00:20:36,330 Just because I think you're probably starting to get the point and 381 00:20:36,330 --> 00:20:37,810 I don't want to labor it. 382 00:20:37,810 --> 00:20:41,800 So this time, but in a different key we're Sorry. 383 00:20:41,800 --> 00:20:44,730 This time I'm going to show you modulating into a different key. 384 00:20:44,730 --> 00:20:45,890 So again, we've got the. 385 00:20:45,890 --> 00:20:47,710 Key signature of C Major. 386 00:20:47,710 --> 00:20:51,660 And, what I should say, obviously this will hopefully be obvious for most people, 387 00:20:51,660 --> 00:20:55,340 is that, the same rules apply in any key. 388 00:20:55,340 --> 00:20:57,010 I'm just showing you in C Major, here, 389 00:20:57,010 --> 00:20:59,320 because we don't have other accidentals to worry about. 390 00:20:59,320 --> 00:21:03,170 We don't have key signatures, sharps and flats in the key signature to worry about. 391 00:21:03,170 --> 00:21:06,490 We just have to think about other sharps and flats that are creeping in. 392 00:21:06,490 --> 00:21:08,960 And signal and key changes modulations. 393 00:21:10,000 --> 00:21:13,010 So, we're again, we're thinking that we're in the key of C major, and 394 00:21:13,010 --> 00:21:15,550 we've got a C chord to start with here. 395 00:21:15,550 --> 00:21:19,549 So I'm going to say again, that this is 1 in [SOUND] C. 396 00:21:19,549 --> 00:21:22,340 And this chord, really in every case is just here for context. 397 00:21:22,340 --> 00:21:24,800 Of course, you don't need to start with that chord. 398 00:21:24,800 --> 00:21:27,039 It's just to show you the, the context. 399 00:21:28,650 --> 00:21:34,090 Then what we've got here is a E, G, B with a couple e's on the bottom here as well. 400 00:21:34,090 --> 00:21:37,077 So we can say that this is chord [SOUND] (iii). 401 00:21:37,077 --> 00:21:39,772 And again I'm using lower case Roman numerals because we've got 402 00:21:39,772 --> 00:21:42,120 a minor triad here, it's a minor chord. 403 00:21:42,120 --> 00:21:45,630 Chord (iii), we would expect to be minor in a major key. 404 00:21:45,630 --> 00:21:46,780 Now, look what happens. 405 00:21:46,780 --> 00:21:48,550 Again, still built on E. 406 00:21:48,550 --> 00:21:53,540 But this time, what we've got is, we've got E, G-sharp, B and D. 407 00:21:53,540 --> 00:21:59,305 E Sharp, B and D, is a major triad built on E, with a minor seventh. 408 00:22:01,070 --> 00:22:06,670 And what that is, is a key, a chord of E7, which is our dominant seventh chord. 409 00:22:06,670 --> 00:22:08,560 Again, just flying through this quickly. 410 00:22:08,560 --> 00:22:11,890 We don't expect E7 to be the dominant of C. 411 00:22:11,890 --> 00:22:14,350 G7 is the dominant of C. 412 00:22:14,350 --> 00:22:17,830 So, this E7's important, because it's a secondary dominant. 413 00:22:17,830 --> 00:22:19,430 It's a dominant chord. 414 00:22:19,430 --> 00:22:23,180 Though on the third degree of the key that we believe ourselves to be in. 415 00:22:23,180 --> 00:22:27,300 So, obviously something's happening, there's a modulation, there's a change. 416 00:22:28,350 --> 00:22:30,970 Now, what is E7 the first of? 417 00:22:30,970 --> 00:22:32,110 Because we know it's a dominant, 418 00:22:32,110 --> 00:22:36,680 we know it's built on a fifth of whatever key it's actually signifying. 419 00:22:36,680 --> 00:22:37,499 Well it's. 420 00:22:38,690 --> 00:22:44,318 The fifth of, E, but in this case when we are in the key of C, [SOUND] and 421 00:22:44,318 --> 00:22:49,674 we see our, E7, the dominant built on the, third degree. 422 00:22:49,674 --> 00:22:54,430 What's happened is, as nine times out of then, nine and a half times out of ten. 423 00:22:54,430 --> 00:22:58,030 Signalling the fact that actually removing to an E minor chord after that. 424 00:22:58,030 --> 00:23:02,470 The reason being that what this is doing is it's trying to take us away from, 425 00:23:02,470 --> 00:23:06,570 this original tonic of C to making our us hear. 426 00:23:06,570 --> 00:23:11,020 Chord six as the tonic, so, what we're getting here is our A minor. 427 00:23:15,100 --> 00:23:19,043 [SOUND] Now that's important because A minor is a relative minor of C major and 428 00:23:19,043 --> 00:23:22,877 this is what we would describe as our modulation to, the relative minor. 429 00:23:22,877 --> 00:23:24,470 And this is really common. 430 00:23:24,470 --> 00:23:26,940 The standard way to modulate to the relative minor, 431 00:23:26,940 --> 00:23:31,546 we make chord (iii) a dominate seventh chord, and that obviously, 432 00:23:31,546 --> 00:23:35,820 then tonisizes makes A minor feel like the tonic. 433 00:23:37,500 --> 00:23:39,910 And that's the way that we modulate our relative minor. 434 00:23:40,970 --> 00:23:47,642 So, having to describe that well, we could say that this is (v) [SOUND] (vi). 435 00:23:47,642 --> 00:23:49,360 And then that this is called vi. 436 00:23:50,630 --> 00:23:51,220 Absolutely fine. And 437 00:23:51,220 --> 00:23:55,420 if it's just a little short, step out of the key, to signify and, 438 00:23:55,420 --> 00:23:58,900 and to suggest to our ears that we're moving towards A minor. 439 00:23:58,900 --> 00:24:04,230 And this is absolutely fine to use this type of annotation. 440 00:24:04,230 --> 00:24:08,345 If, as I see, that we're finding that this is, again, a more significant, 441 00:24:08,345 --> 00:24:14,610 long-term shift, we might want to see this as a (v) in E minor, 442 00:24:14,610 --> 00:24:21,920 and then, as such, this is one in E, in the new key of E minor. 443 00:24:21,920 --> 00:24:23,780 And again, I reiterate, just for 444 00:24:23,780 --> 00:24:27,900 the sake of being thorough, you decide when you're looking at this. 445 00:24:27,900 --> 00:24:30,870 Obviously, this is just a little example on a page. 446 00:24:30,870 --> 00:24:35,820 You decide what makes more sense, and you go with that based on what the context is 447 00:24:35,820 --> 00:24:40,430 telling you, and what your common sense musical knowledge is telling you. 448 00:24:40,430 --> 00:24:42,890 Okay, so that's looking at it in terms of the chords. 449 00:24:42,890 --> 00:24:46,710 And that's fine, but some people that may be thinking okay, I understand that, 450 00:24:46,710 --> 00:24:48,720 that's fine, I can see that there's other. 451 00:24:50,040 --> 00:24:52,510 Chords and they're not expecting to see. 452 00:24:52,510 --> 00:24:56,180 These chords are there to draw my attention away and to draw my ear 453 00:24:56,180 --> 00:25:01,000 towards a different chord, towards a different center, a different tonic. 454 00:25:02,920 --> 00:25:05,290 But when I'm looking at music, what am I looking at? 455 00:25:05,290 --> 00:25:05,790 Well. 456 00:25:07,210 --> 00:25:09,940 In the example that I gave you, where we're modulating to the sub dominant. 457 00:25:09,940 --> 00:25:14,190 We were going from the chord of C to the chord of A, eventually to the chord of F. 458 00:25:14,190 --> 00:25:18,890 What we can see actually more than that is that we're going from the key of C and 459 00:25:18,890 --> 00:25:25,820 pulling towards the key of F via our secondary dominant, built on the tonic. 460 00:25:25,820 --> 00:25:30,065 Now in order to build a secondary dominant on the tonic we needed to have a B-flat. 461 00:25:31,150 --> 00:25:31,930 So. 462 00:25:31,930 --> 00:25:33,300 That's in the key of C. 463 00:25:33,300 --> 00:25:37,020 What we can do is see okay well what is B-flat in relation to C. 464 00:25:37,020 --> 00:25:40,310 Well it's the flat seventh minor seventh of that key. 465 00:25:41,840 --> 00:25:46,069 So if we are starting to see, the seventh degree of our key, whichever key that is. 466 00:25:47,440 --> 00:25:51,260 When lowered, then we can see that there's a very, 467 00:25:51,260 --> 00:25:55,000 very good chance, that we are moving towards our subdominant. 468 00:25:55,000 --> 00:25:57,810 So if you've got a piece of music and you think you're in the key of G, and 469 00:25:57,810 --> 00:26:01,450 then you're starting to see lots of F's being lowered, 470 00:26:01,450 --> 00:26:03,110 there's a good chance we're moving to. 471 00:26:03,110 --> 00:26:06,020 Or sub dominant, in this case, which would be C. 472 00:26:06,020 --> 00:26:10,580 In the example that I've given you, C to C7, we need to bring in a B-flat, 473 00:26:10,580 --> 00:26:14,770 which is, which means it's the seventh degree of the key being lowered, and 474 00:26:14,770 --> 00:26:17,580 that builds us towards F, which is our sub dominant. 475 00:26:17,580 --> 00:26:21,853 So, if you, are looking at a piece of music, [SOUND] and you see lots of 476 00:26:21,853 --> 00:26:26,310 seventh degrees being lowered, if you see lots of naturals or fl- 477 00:26:26,310 --> 00:26:30,760 Sorry, if you see lots of accidentals, lowering the seventh degree. 478 00:26:30,760 --> 00:26:33,705 Of the key that you believe yourself to be in. 479 00:26:33,705 --> 00:26:37,487 Then you, have a very good bet that you are going to want your sub dominant. 480 00:26:39,520 --> 00:26:45,930 If you're in, a key, and what I was saying is that we're moving to the dominant. 481 00:26:45,930 --> 00:26:52,080 In order for that to happen we needed our The, 482 00:26:52,080 --> 00:26:55,540 the secondary dominant to be built on the second degree of the scale. 483 00:26:55,540 --> 00:27:01,246 Now, when we were in the key of C, [SOUND] in order to build a secondary dominant on, 484 00:27:01,246 --> 00:27:05,496 the second degree of the scale we needed to have an F-sharp. 485 00:27:05,496 --> 00:27:08,266 [SOUND] Now, what is F-sharp in relation to the key of C? 486 00:27:08,266 --> 00:27:10,000 Well, that's the fourth. 487 00:27:10,000 --> 00:27:13,430 So again, I can say, if you're seeing that you've got the fourth degree of 488 00:27:13,430 --> 00:27:15,300 whatever key you're in being raised. 489 00:27:15,300 --> 00:27:20,242 There's a good chance that you are moving towards, the dominant. 490 00:27:20,242 --> 00:27:24,920 [SOUND] And just to tie it with examples that I've given you. 491 00:27:24,920 --> 00:27:31,260 If you're in the key of C, and you want to modulate to your relative minor. 492 00:27:31,260 --> 00:27:33,190 To the A minor to the sixth. 493 00:27:33,190 --> 00:27:35,830 We have to build our secondary dominant. 494 00:27:35,830 --> 00:27:37,230 On the third degree. 495 00:27:37,230 --> 00:27:41,358 Now in order to turn the chord about on the third degree into a second degree 496 00:27:41,358 --> 00:27:46,180 dominant, we needed to have a G-sharp when we were in the key of C. 497 00:27:46,180 --> 00:27:48,800 G-sharp, in relation to C, is what? 498 00:27:48,800 --> 00:27:50,670 Well, it's C, D, E, F, G. 499 00:27:50,670 --> 00:27:52,380 It's the fifth. 500 00:27:52,380 --> 00:27:53,620 It has been raised. 501 00:27:53,620 --> 00:27:55,390 So again, just as a little, kind of, cheat. 502 00:27:55,390 --> 00:27:58,620 For you not a cheat a quicker way to look at things. 503 00:27:58,620 --> 00:28:03,050 If you're in a key and you're starting to notice that, there's a lot of accidentals 504 00:28:03,050 --> 00:28:06,730 raising the fifth degree of the key that you believe yourself to be in. 505 00:28:06,730 --> 00:28:11,970 Then there's a very good chance that, that as you're moving to your relative minor. 506 00:28:13,230 --> 00:28:16,910 Okay, so again this wasn't thorough, it wasn't exhaustive. 507 00:28:16,910 --> 00:28:21,440 As a, as a lesson in modulation. 508 00:28:21,440 --> 00:28:25,520 More than anything else it was a way to show you common things that can happen, 509 00:28:25,520 --> 00:28:31,750 what they mean, why they're happening, and how you can spot them in written music. 510 00:28:31,750 --> 00:28:34,730 Hopefully the first part of the video also give you a little idea of how you 511 00:28:34,730 --> 00:28:35,800 can hear them. 512 00:28:35,800 --> 00:28:39,744 Obviously that's not directly related to this course, although it is obviously. 513 00:28:39,744 --> 00:28:41,571 An important work. 514 00:28:41,571 --> 00:28:42,071 So.