How to: modulation per sequence

[@en-blanc-et-noir]

Timestamps: 00:00 Intro 00:43 Musical disclaimer 01:08 BAROQUE style examples + 7-1 exit 04:01 Applying the 7-1 exit onto two other sequences (faux and tied bass) 04:31 Common thoroughbass figures above 7-1 04:49 4-3 exit module derived from tied bass sequence 05:35 ROMANTIC descendant of this sequence 06:22 Prelude-style modulation Bb-E (4-3 exit) 06:50 Derived SWEET modulation F-Cb, Waltz-style (4-3 exit) + circle modulation in tritone relations 08:18 A kind-of-sequence by CHOPIN 08:59 Modulation d-b (7-1 exit) in Waltz style 09:20 How to exit via 4-3 09:40 Modulation d-Eb (4-3 exit) in Waltz style 10:01 Modulation C-a for TWO PIANOS :D

[@playbach3243]

Thank you again and again and again and again and again and again and again and again for your videos!

[@en-blanc-et-noir]

:DD

[@davidsallette6487]

What a genius channel!

[@karlmichelson]

This video is fire! Sprayed some snot around the flat on "Shopan". 👌

[@en-blanc-et-noir]

seems like it became a standard spelling… I saw it frequently on yt

[@jonaswolfmusic1775]

Just discovered your channel recently, and it is really a gem! I really cannot tell why that YT algorithm wouldn't have suggested it earlier, but now it brightens up these dark days a lot.

[@en-blanc-et-noir]

HA! Danke, Jonas! Ich habe gerade mal bissle durch deinen Kanal gescrollt und direkt abonniert, sauber! Sieht richtig interessant aus! KZbin-Algo: ja, ich denke der muss erstmal den ganzen Schlamm beiseite drücken - und bei minütlich hundertirgendwas Stunden neuem Videomaterial... dauert das :D

[@jonaswolfmusic1775]

Danke für die Blumen. :-) Ich denke eigentlich, dass mein Konsumverhalten mir Deine Inhalte schon wesentlich früher über den Weg hätte laufen lassen sollen, aber so gibt es wenigstens immer wieder angenehme Überraschungen.

[@MusicaAngela]

I am re-watching this, and laughed at 3:30 when you talk about having to “smuggle in” two accidentals quickly when going from a minor key to the dominant. 😃 I miss more than I want to admit when watching your videos for the first time. Am I the only one here who needs to watch these multiple times?

[@SachinShukla]

10:01 a clear sign that he’s being held hostage by steve reich and is sending out a call for help ;)

[@payampahlevanian]

Outstanding!

[@slickwillie3376]

Totally awesome!

[@murraywilloughby7116]

Another great vid! Learning from you has become my top priority on piano. Just after Violin.

[@en-blanc-et-noir]

"...just after violin" ok then :DDD Nah, I'm glad you enjoy it!

[@grocheo1]

Thank you very much. Wonderful. Brilliant!

[@061mozart123]

Absolutely brilliant video 👏 Very informative and helpful 🙏

[@ZootBurger]

This is a fantastic video! I got my BMus in the early '90s, and had forgotten most of this stuff.. it was a brilliant refresher course for me, and you delivered it with pace, humour and clarity. Thanks! Subbed 😊👍

[@ANESCAVKIC]

You can explain things very well! I really Like watching your videos keep going man 👍

[@altekamerad]

Bro this is a GREAT video

[@luisdiaz05]

Great video!! Could you make one talking about the baroque fantasy? . Thanks!

[@en-blanc-et-noir]

Thank you, Luis! Baroque fantasy, phew... ha, what like?

[@lostparachutes1968]

awesome content!

[@maxjohn6012]

Wow, that was eye opening! Very pleased to have discovered your channel - happily subscribed :)

[@en-blanc-et-noir]

thx for comment and subbing!

[@jacksonelmore6227]

I like to make sequential sketches that I’ll later make asymmetrical to melodically modulate, I can’t stand raw sequences in other genres, even Mozart’s sequences irritate me sometimes but I acknowledge nuanced sequences are essential to articulate melodic intent

[@ClaireODonnell]

Great tutorial, Michael. I loved your opener and closer to the video. It made me laugh, because the closing sequence shows exactly how my head feels when I start thinking about so many keys!! :-D

[@richardk1598]

This is incredible

[@en-blanc-et-noir]

is it? 😅

[@richardk1598]

@@en-blanc-et-noir of course

[@en-blanc-et-noir]

@@richardk1598 Thanks Rich :D

[@wheelmanmitch]

Sooooo cooooool! 😎

[@uhoh007]

So refreshing! Module....a new note in the progression of terminology.....sequence....schema....module? Cadences, to me, are the foundational schemas. Exit Module...pinpoints my current struggle recognizing key changes and re-ordering my do-re-mi accordingly. "Module" well it's like modulation, which is good, but sadly "module" has considerable emotional connotations related to it's wide use in academia. "Schema", Gjerdingen's choice (for something different) is wonderfully neutral, despite near equal employment over the years. Modulette? ;) Outstanding video, again!

[@en-blanc-et-noir]

well :D module is not a new term. Modularity in general is a nessecary concept of teaching improvisation which means that you devide music into learnable building blocks that can be combined within an open space of multiple options. Partimento in general provides a modular approach to music and as I try to show in my videos, it can be transmitted to later styles as well…

[@DrStabkill]

Subscribed - I would love to hear more about sequences

[@en-blanc-et-noir]

ha! THX Mr.! Well, you proabably didn't check the channel, but sequences is probably the most exhaustively covered topic on the channel: Fauxbourdons: kzbin.info/www/bejne/nJ_FY4RunLForLs Circle of 5ths sequences: kzbin.info/www/bejne/gamkonisjJ2jn6s Romanesca: kzbin.info/www/bejne/hKKUiHaYobqSqMk 2-3-chain/7-6-chain: kzbin.info/www/bejne/l3vYpWWupLaVb9k Scarlatti as Master of Sequence: kzbin.info/www/bejne/sIm6Z62LmLqmZrc ... you actually can binge on this topic! Cheeeeeers

[@apollodesign]

Great video! If you havent checked it out before, Neo-Riemannian Theory would be right up your alley ✌

[@en-blanc-et-noir]

You can tune a piano but you can't tunalord... Thx! Well I gotta say I don't see how the central concepts presented in the video (1. Rule-of-the-octave-modularity and 2. chromatization of diatonic scaffoldings) are hittin' the same note as Neo-Riemannian Theory. But you're gonna tell me for sure :DDD

[@paulolevisilveirateixeira2903]

❤🎉 Thanks

[@ianmoore5502]

Subscribed- you are scratching an itch😮

[@nishij2024]

GOAT

[@DanDanDan-c2w]

at 6:32 when you land on that 6/5 chord, with 4 in the bass (4 of E major i guess?), why is the C not sharp if E major has C#? is that not supposed to be a ii7 chord first inversion in E major leading to the cadential 6/4 and then the V?

[@en-blanc-et-noir]

that is a common "romantic alteration" of the 6/5 chord on 4 and it is indeed a ii7 but I've never looked at this chord as a ii7 because it is much more evident to describe it just as you did: 6/5chord with flat third instead of the diatonic major third. This is truly a very an absolute standard device. E.g. Check the intro to Chopin's Nocturne Op. 32,2, you can see the alteration from major to minor!

[@DanDanDan-c2w]

@@en-blanc-et-noir interesting. so is this where the idea of borrowed chords maybe comes from in the modern way of thinking about chords? since that ii7 with a flat third would technically be a borrowed half diminished ii7 in first inversion from the parallel minor?

[@en-blanc-et-noir]

@@DanDanDan-c2w yeah, that's true. So E minor would be the parallel minor of E major??? What's c# minor then? Is this called relative minor? E minor and E major are parallels (and vice versa), is this correct? I'm sorry for asking because in Germany parallels are E major and c# Minor and E minor would be the "Varianttonart" ("variant key") of E major. That is confusing...

[@DanDanDan-c2w]

@@en-blanc-et-noir haha all good yea i've always known parallel keys to mean a key with the same starting note but different tonal characteristic, whereas the relative was always the minor key that's on the 6th degree of a major key (and the major key on the 3rd degree of a minor key). we also use parallel to refer to any mode, like parallel dorian or parallel lydian etc.

[@johnrothfield6126]

Thanks! Is it common to Baroque to see non-diatonic thirds as part of a diminished 7th ? And then use that knowledge to modulate to 4 keys?

[@en-blanc-et-noir]

Your welcome! :D that's quite a comment! I somehow stumble across the term "non-diatonic thirds"... Common sources before let's say 1750 discuss the diminished 7th chord always linked to the scale (if not RO-wise), so this chord is somewhat grounded in the expanded concept of diatonism of minor scales (common accidentals)/keys and implies distinct resolutions. The oldest source I know that comes up explicitely with the thing you're describing (enharmonic spelling and thus multiple resolutions) is C.P.E. Bach's "True Art...", if you scroll a bit through it you'll find it, I think there's even a special chapter. BUT: I bet there's earlier sources and there is of course baroque pieces that implicitely demonstrate this possibility. I'd say it was in the air... My humble opinion on this: the dim7th as systematic modulation device is a topic that's way overstretched in modern harmony theory (which doesn't mean that it doesn't play a certain role in compositional practice) and it surely doesn' have the importance that the popularity of this topic suggests - or can you name 5 examples on the spot? :DD If you wanna search for stuff like this to proof your suspicion then you surelly find original examples in a) dramatic recitatives or b) extravagant fantasia-genres. And after that please come back and tell me what you found :DDDD Are you pleased with that answer?

[@johnrothfield6126]

@@en-blanc-et-noir I think I agree with you about the lack of examples, even in Jazz. My apologies for not responding sooner. Thanks for the reply!! I'm coming back (after 40 years of playing "non-western" music on strings) to studying Baroque and romantic/jazz music, so my questions may seems strange. In coming back to my post after 3 months. I initially didn't even understand my own post! Upon reflection, I see that the question relates to my study of Barry Harris' teaching where he lays great emphasis on the three diminished 7th chords and the family of 4 dominant 7th chords that applies to each dim 7th chord. As an aside, is it possible to say dominant and diminished chords to mean dom 7th and dim7th chords?

[@carolintjoa2487]

The pivot chords for modulation at the beginning of the video is Aug 6th, is it?

[@en-blanc-et-noir]

pivot chords?

[@carolintjoa2487]

@en-blanc-et-noir What is a pivot chord? A: Pivot chords (also known as “common” chords) are used when music modulates from one key to the next. The pivot chord will be a chord that both keys share. For example, let's say we're modulating from C Major to G Major. We can see that these keys share a few of the same chords. I just looked at it up on google. The chord that can be modulated to other tonalities

[@en-blanc-et-noir]

​@@carolintjoa2487 I don't know what example ("modulation at the beginning") you're referring to... when modulating per sequence you don't need pivot chords. IMO this concept is an overstretched hallucination of 19th/20th century music theory, like a misguided route that emerged from the desire to systematize key relations. Especially between closely related keys it is a superfluous conception that is simply dispensable. Actually the only scenario where this concept makes sense is when it's about chords that truly allow multiple interpretations related to several keys, e.g. the diminished 7th chord. Even with the Aug6 chord I'd say that it usually goes one direction: D7 (of the one key) becomes Aug6 (of the other) and just in verrrry rare cases it's the other way around, so I would just teach in the way as it usually occurs...(so this is not a pivot route in both directions!) When I was a student I had to learn and memorize a chart (!) of pivot chords that tried to cover ALL possible relations. Now that I'm a teacher myself with several years of experience under the belt see this concept as a total failure and decided for myself that I don't wanna teach like this anymore. Actually a shame that it is still common sense and probably still a standard subject in many classrooms. #nohate that's not against you, I just had to deliver my rant :DDD

[@carolintjoa2487]

First of all, you are a great teacher, man. I absolutely never ever think that you are against my commentary. I am very happy and grateful to be taught. It's my mistakes here, because I thought pivot chords are the dim7th dom7th aug6th which has a resolution to a key or other key. Besides I just found out that pivot chords are actually the definition of chord degrees where 2 tonalities have in it. I mean the opening which you played Bach like , it's actually dim 7 from G and dim7 from C. I thought it was Aug 6th. It is probably my mistakes which are actually not being careful enough. I would very appreciate if you can do Aug6th modulation explanation for your next content, would very much looking forward to it. Thanks again , I really appreciate it. Wish you all the best !

[@carolintjoa2487]

@@en-blanc-et-noir my god , I just realized you do made a video about Aug 6th , and just checked it out , sorry my bad,😅

[@simonreitberger3361]

6:23 😍

[@gabrielakochmusic]

👍🏼👍🏼👍🏼

[@michalstawarski]

Breath! please!

[@andreas8967]

👍🏽👍🏽👍🏽

[@fergusbyett8088]

SHOPAN

[@en-blanc-et-noir]

lol what about him?

[@hugueshuddlestone780]

You are sooo cute.

[@en-blanc-et-noir]

Well... thanks haha