Modulation using Diminished 7ths - Music Theory
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- Äas pĆidĂĄn 17. 07. 2024
- How to use a diminished 7th chord to modulate into a different key. Diminished 7ths are usually used as a means of adding harmonic colour and tension within the prevailing key. They can also be used as a means of modulation, which is what is demonstrated in this music theory lesson. Watch as we clarify the nature of a Diminished 7th chord and explain how it functions within a key. We then go on to suggest how the Diminished 7th can be a most effective means of modulation, especially when one makes enharmonic alterations to notes within the chord. A very useful video for composers and arrangers who wish to extend their harmonic and modulatory base and for performers wanting to understand how this Diminished 7th modulation technique functions in the music they are performing.
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đ Timestamps
0:00 - Introduction to modulation using diminished 7ths
2:19 - What is a diminished 7th chord?
4:14 - Diminished 7th modulation
7:52 - How composers made use of diminished 7ths
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Diminished 7th chords are pure magic. Each note of these chords is the leading tone to a new key!! And there are only three of them (in different inversions, sure).
Yes. Itâs an incredibly versatile chord. That why Liszt used them so much.
Once again ... wow. Comprehensive content, enjoyable bits of humour and immediate piano example. What a holy trinity for us music theory students! Our pleasure is not diminished. Many thanks again. Greetings from Paris.
Thanks so much for your encouraging comment. We will keep producing material, especially if enough people sign up to Music Matters Maestros to help us. More info at www.mmcourses.co.uk
Greetings from the UK to Paris!
Actually we're in seventh heaven with these gems.
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Lowering each note one at a time gives you four different dominant 7th chords, and raising each note gives a minor triad with an added 6th interval. Raising or lowering multiple notes at once gives even more options. Itâs amazing.
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Love your lessons! you are really helping many of us that love music and want to go a little bit further! Thank you!
A great pleasure. See www.mmcourses.co.uk for details of our 25 online courses and of our exciting Maestros programme.
Thank you for shedding some light of the Diminished 7th chord in terms of opening up possibilities of adding colour to a composition. It also helps me understand the umpteen chord changes on Chopin's Fantasie Impromptu! Big THANK YOU again!!
Thatâs very kind. Much more at www.mmcourses.co.uk
Enjoy Chopin!
Woooo, I'm so amazed with those movements you use as you explain (especially second one),
So good
Too kind! See www.mmcourses.co.uk for our 24 online courses and details of Music Matters Maestros.
The crazy thing about your videos is that your tricks are explained so simple yet so precise which makes it actually possible to implement them in one's compositions! Though, simultaneously you're able to not only follow the blueprints but also grasp the underlying music theory. Thanks a lot!!
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Oh yes, that's great. The funny part is going back to the starting key without dim 7th... from E flat minor back to C major... Ludwig vB was a master of key jumping (take Patetica 2nd movement for example). Hoping to find a video on that very soon. Thanks a lot as usual for sharing your great musical knowledge! Cheers from Italy!
Yes. Itâs great isnât it? If you go to www.mmcourses.co.uk you will find the analysis Iâve done of Beethovenâs Pathetique.
What I like is that I have enough knowledge to follow your lecture. Your lecture is not too basic and not too advanced for me, just perfect for me!
Thatâs great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
The most intelligent and articulate concise and rewarding explanation. Thank you.
Thatâs most kind. Much more at www.mmcourses.co.uk
I loved this video. The history and how modulation changed over the years was really interesting, but I loved everything about it. You give reasons for doing things ("getting boring so add a diminished 7th" Hahahha) and then explain it simply without showing off and leaving me in the distance. Your expertise is very evident. Thank you so much!
Youâre most kind. Much more at www.mmcourses.co.uk
I've been looking for information like this to help me understand playing to another key. Thanks a bunch!
A pleasure. Much more at www.mmcourses.co.uk
hi music matters i am addicted to diminished chords and your vids on the subject are amazing many thanks i am still on grade three but i need to know every thing possible using diminished. WOW just WOW
Hi. Great to hear from you. Glad youâre into Diminished chords. Much more at www.mmcourses.co.uk
Your videos are never out of anyone's pay grade for long. They are explained so simply that you instill music theory knowledge better than anyone on the internet.
I quit watching one famour You Tuber for his music theory videos until I have a post-Doctorate in Musicology, since he uses very advanced ideas all the time. You are really ZE Maestro.
Thatâs most kind.
You are a gift to the world, Sir. Thank you very much!
Thatâs most kind. Plenty more at www.mmcourses.co.uk
Keep going with this great channel
Thanks. We will. Just hoping that a few more people will sign up to Music Matters Maestros to help keep the channel going. More details at www.mmcourses.co.uk
Thanks Gareth. This was fascinating!
A pleasure.
I love this man's mind. Thank you for the education.
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great video, learned so much đđŒ
Thatâs kind of you. Much more at www.mmcourses.co.uk
Brilliant! Thanks so much
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
Thanks you. Excellent lesson and very good style
Thatâs most kind. See www.mmcourses.co.uk for much more.
wow wow wow wow, the best vid on the entire youtube on dim7ths
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very informative thanks. Love the dim 7 sounds. Looking forward to trying some experiments. Thinking of the old Charlie Chaplin movies. Anyone else remember them?
Charlie Chaplin. Great stuff!
Wow! THANK YOU.
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
dense. right to the point of what the use for this "tool" is. great video with theory and demonstration.
Thanks for your kind comment. See www.mmcourses.co.uk for much more.
Thank you for opening me up.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Bravo!!! Really nice and good explained content...
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
The dim7 fun begins .. Thank you !!
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From Egypt you're great.
Thatâs most kind. Much more at www.mmcourses.co.uk
Bit clever and very useful :) Thanks :)
Thatâs really kind. Much more at www.mmcourses.co.uk including our 24 online courses and details of Music Matters Maestros.
I'm working on a musical setting of Psalm 91, and at a certain point needed to get from a Bdim7 chord to a D#dim7 chord in the space of two measures. I originally tried Bdim7 to Cdim7 to Ddim7 to D#dim7, but that sounded too much like a silent film score to me. So I asked Google about movements of diminished chords and ended up at your video. Your example, starting around 6:40, of going from a Bdim7 chord to a Bb7 was the beginning of the solution. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Very interesting.. Thank you
A pleasure. See www.mmcourses.co.uk for much more.
Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
Awesome video
Thatâs great
you are now my favorite theory teacher....
Thatâs most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
i think a good way to simplify the information is that because it's symmetrical, it can function as the viio7/ to either of the triads built a half step above either of its notes. So it can be an applied to 4 different notes but its function is determined by which one it resolves to
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Magical....
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
How to modulate by chromaticism, please explain ,Sir. Your videos are very educative and effective. Thanks. Arun Dey
We have a video coming on this topic soon. Stay tuned.
I didn't understand by which mechanism does enharmonic re-spelling of a Diminished 7th chord allow these modulations.
For instance, in the second example, when you re-spelled BDFAb as CbDFAb, you said that it can now be considered as the V7 chord of Eb Major or Eb minor.
Since the V7 of Eb Major or minor is a B chord, I don't understand how re-spelling B into Cb makes that a B chord, when now there is no B in that chord anymore?
Is that chord now considered a D chord (DFAbCb), or maybe as some other chord?
Similarly, in the first example, when we re-spell BDFAb into BDFG#, is that now considered a G# chord, and is that what allows the modulation into A Major, A minor, D Major, and D minor?
Does it allow modulation into A Major and A minor because a G# chord could be vii chord in them and vii could lead into I, or is some other mechanism used here?
I also don't understand how this re-spelling allows us to modulate to D Major and D minor. Is it because a G chord can be considered IV in those keys and that somehow leads to I?
When BDFAb becomes CbDFAb you can then resolve the Cb down a semitone to Bb and this is then the dominant 7th in the key of Eb allowing a resolution to the tonic chord of Eb.
With BDFG# the G# resolves upwards to A while the B resolves downwards to A. This enables a tonic chord in A or lc in D minor.
Hope that makes sense but do watch the video again in the light of this and it will be clearer.
"Not causing any offence to world" LOL
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Could you please tell me which application do you use to have the keyboard appear at the bottom of the screen? Thanks!
Hi, the application is called Synthesia.
@@MusicMattersGB Thanks!
@@MusicMattersGB Sorry to bother again: how do you edit the video portion alongside the Synthesia keyboard? I enjoy the videos very much!
Why Bdim7 has a Ab in a C major scale? In this scale it should be halfdeminished (b-d-e-a), right?
Chord Vll7 in C major is BDFA. A Diminished 7th is a chromatic chord, which means it adds colour by using notes that donât belong to the key so a Diminished 7th in the key of C is BDFAb.
Is there a way to know which chords one can modulate to from a diminished seventh in a given key?
Itâs really a matter of voice leading eg G# B D F is a diminished 7th in the key of A because itâs built on chord VII in A major or A minor. It therefore progresses to the tonic chord of A major or A minor, with G# rising to A and F falling to E. The same chord using Ab instead of G# would now be built on VII in C major/ minor so it would progress to a tonic chord of C major/ C minor.
I want to learn more about this. Where do I go for more in depth?
Have a look at this course.
www.mmcourses.co.uk/p/music-theory-grades-1-to-8
www.mmcourses.co.uk/p/advanced-music-theory-grades-6-7-8
Be sure to take a look at this playlist too... Thanks
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Hi Gareth, I don't know how you can modulate from C major to Eb major. The seventh chord in discussion is [Cb D F Ab] but there is no Cb in the key of Eb major. Which chord of Eb major corresponds to this chord ([Cb D F Ab]) ? Thanks!
DFAbCb is the Diminished 7th in the key of Eb so that can be followed by the tonic chord of Eb.
Thanks Gareth! The diminished seventh chord in C major is [Cb D F Ab] while the diminished seventh chord in Eb is [D F Ab Cb]. Thus, is it correct to say that we modulate from C major to Eb major via chord [D F Ab Cb] in "third inversion" because we have Cb in the bottom ?
The Diminished 7th in C is BDFAb, while the Diminished 7th in Eb is DFAbCb. Of course B is an enharmonic equivalent of Cb (ie they sound the same but look different). Itâs this enharmonic shift from B to Cb that enables the move from C to Eb. One could present it in any inversion.
@@khiemngo1098 best thing is not over think it. I did that. Instead improvise on piano and experiment. Also, look at composers use of dim. 7 which is what Gareth has done. Beethoven and Mozart's minor sonata's are a good place to look. Also Bach preludes as a starting point. In folk music they are used in Hebrew music a lot. Hope this helps you.
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What is the difference between beat and Pulse in music?
Theyâre really the same thing
@@MusicMattersGB Thank you. However I tend to feel that there's a slight difference in that, BEAT can be realised on a piece of paper (Theoretical) whereas PULSE could be experienced.(Kinesthetic)
How is my argument?
The two words are interchangeable but you may have a point.
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A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Don't understand why going to D minor from chord B-D-F-G# ?
D and F belong to the tonic chord of D minor. The B pulls down to A and the G# pulls up to A. This naturally leads you on to the tonic chord of D minor in second inversion.
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Love that Liszt fugue on BACH
Itâs stunning
I still don't understand why Beethoven writes an F double-sharp instead of a natural G in the eighth bar of Moonlight III. I understand it's enharmonic but I don't understand the logic of that spelling: an augmented 2nd instead of a minor 3rd.
Itâs all about the key eg we use Fxx in G# minor so we end up with one of each letter name:-
G# A# B C# D# E Fxx G#
my harmony teacher called this dimished 7s : "Minorthird" like an adjective- have you ever heard of such a name?
Diminished 7ths certainly comprise minor 3rds
Where is the 7th in that chord.
It's Possible over the 2, 4, b6, 7......whether you count from C or A
C Harmonic MAJOR = Ab A Harmonic min = G#
D, F, Ab, B B, D, F, G#
And C Harmonic min And A Harmonic MAJOR
That's why I used memphis numbering..so you'll SEE it.
If you know other scales...it can be WHERE EVER degree.
You can use any diminished chord to play into the next chord
B into C........D into Eb........F into F#..........G# into A.
KEEP it SIMPLE like that
G, B, D, F = B dim/G into C MAJOR or C min
E, G#, B, D = G#,dim/E into A MAJOR or A min
You're basically learning how to play a dim chord a semi tone apart
into a chord.
The A melodic minor....That's 2 semi tone
F# dim G# dim
D7 E7
Harmonic... MAJOR or min....3 semi tone apart.
That pretty much gives you all OPTIONS 2-set of w step = Maj3
KEEP it SIMPLE like that.
The FULL diminished WH or HW...
It's basically any degree...becuase it's SMMETRICAL
over the A dim or C dim???? From A min???
A lydian b3 ( E Harmonic MAJOR) aka lydian dim...
You can still play it as A min
A min.....B7 into E MAJOR or E min.....
G#7 into C# min......or A min C dim into C# min/E MAJOR
without racking your brain...or if you dont want to learn different scales.
MOST PEOPLE DON'T....
If you where in C MAJOR/Amin.......and wish to play into Bb Maj/G min
or whatever KEYS.....just play a diminished chord a semi tone below
the chord or KEY you wish to play into...whether it's MAJOR's or minor's
TONIC.....KEEP it SIMPLE like that.
If you went to C# min/E MAJOR from A min......just play G# dim (E7) into A min
to get back to A min
if you want to play from C# min to B min.....A# dim into B min or F#7
KEEP it SIMPLE like that.
Thanks for that full response. To look at the same thing another way, you can build a Diminished 7th on any note. If you want to key reference a Diminished 7th think of chord Vll in that key and put another minor 3rd on top of it.
Anyone else also here after not understanding Jacob Collier's explanation of this?
Hopefully the video makes everything clear.
Diminished chicken in the KFC !!!!
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