Music Theory: Enharmonic Modulation & Chromatic Mediants
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- čas přidán 16. 04. 2016
- More on some unique techniques in chromatic music.
0:30 Defining enharmonic modulation
2:08 Enharmonic Modulation with V7 / Ger+6
5:06 Enharmonic Modulation with viio7
9:25 Key relations from Enharmonic Modulation
11:06 Describing Mediant Relationships
14:36 Example: Mediants from CM - Hudba
Simply wonderful teaching! You are a hugely gifted educator from your technical mastery of the material to your delivery - a fabulous and faultless combination! Thank you very much David.
This is the second time I have watched your video. There is a great deal in it to learn. Excellent video. Thank you.
Thank you so much for this!!!! You explained it way better than my theory lecturer.
Thank you so much David! Finally I found so much information about modulations!
Thank you so much for this great video, I'm in college studying music, now I'm in harmony III and it's not easy to understand it but with your videos I can understand it better.
im in 5th grade and im learning this
Joanna Liu ok this was a year ago .. do you Understand it now?
@@charlytorres1077 no
@@classicfilms8071 😂
Just what I needed, thank you!
An excellent video. You explained these things very well. Thank you.
Great job on the video. I enjoyed it a lot.
Thank you for this very helpful video.
Enjoyed this helpful video.
Very helpful, thank you.
Your speech pattern are highly sophisticated. You sound like someone with good ear training.
i love your videos!!!
Thank you !
You are good teacher. THanks
very clear!!!
thanks
Re 1st Do you know the hymn tune Anchor by Alfred Beer 8,8,8,8,8,8
Interesting
Thanks for this and all your other great videos, I really appreciate your work! When you resolve the German Sixth Chord you interpolated a 4,6 suspension, which i assume is to avoid parallel fifths? Would it be possible to just avoid those by leaving out the A alltogether? I ask because generally the 5th is considered the least important note in a dom7th chord but in this case, coming from a popular music background, i would label this the b9 of a non existent V of V ... Do you know of examples within classical music where it is used that way ? thanks
Thanks! The general question about omitting the 5th is certainly good. There's certainly a version that can do this, but you just have to watch doublings/voice-leading, because there are a lot of tones that have strong resolution tendencies that you don't want to double.
As for labeling, there are usually a lot of different ways of looking at chords. I see the connection you make as the lowered ninth of a secondary chord. I can't think of an example off the top of my head, though Chopin has a number of piano works that emphasize ninth chords, so maybe consider looking there.
thank you... :)
after some further research about this: I think the so-called "italian sixth" should describe exactly that case...
Hi there, if you ever get time I would like to know why augmented or diminished chords are not considered when discussing mediants? For example from C, Ab augmented is a major 3rd away and even shares the common tones of C and E so does this not still fulfil the criteria of a mediant chord? After all, C and Ebm share none, it just is a min3rd away. So my question is can't any chord type that can be achieved a major or minor third away (in either direction) from the root be considered a valid mediant? I totally get that there was a conservative approach to this and that it relaxed a little over time (double chromatic mediants) but I can't find any info that discusses why dim and aug chords cannot be part of the concept. I am aware that originally chromatic mediant chords had to share the same quality (major or minor) but I can't find any information that explains wholly why this should be the case or even who stated this. I'd really appreciate your thoughts on this if possible. Thanks. Adam
Hi! My impression - and this is just an educated impression - is that because those chords play a smaller role in tonal music, they do not get as much focus in the broader discussion here. That's a simple explanation, but I think there is something there.
Good morning. Are your videos/lectures available in PDF format?
no, just here as videos.
How do you know when you want to modulate, or what key you want to modulate to?
David - this is a tricky question. I would study some music that you enjoy and see how that music handles key change - both in how it fits into the structure of music, and what key relationships are typical. Different musical styles - jazz, classical, popular - all handle modulation quite differently.
Some things to keep in mind: Long stretches in one key tend to feel more stable; modulations to very closely related keys (the dominant, relative keys) can often be executed in a very smooth way. Frequent modulations can make the music feel less stable; abrupt modulations to "distant" keys have a similar effect.
The best way to learn is to write, listen to your work, and see how it sounds. Best of luck!
Thank you!! Any recommendations for songs to listen to?
Can you simply play it? I dont care what theory just want to see how it works and replicate with ear