How to Recognise Modulation in a Piece of Music - Music Theory

How to recognise a modulation in music. This music theory lesson explains what constitutes modulation and works through a piece of music that contains several modulations. An analysis of chords, accidentals and cadences reveals the modulations that take place during this piece of music. Pivot chords are covered and the difference between shorter and longer modulations is explored. This video will be helpful for anyone writing harmony, for those wanting to sharpen their aural and analytical skills, and for anyone wanting to gain confidence in using modulation during improvisation.
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🕘 Timestamps
0:00 - Introduction to how to recognise modulation in a piece of music
1:46 - Playing the piece
2:35 - First phrase
8:03 - Second phrase
15:28 - Third phrase
19:22 - Final phrase
21:23 - Conclusion
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[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@gordonhardwick5151]

The best item I’ve seen on KZbin in weeks. A beautiful little chorale and brilliantly explained. I can now listen to JSB with fresh ears.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@tintchetia5415]

Wonderful Gareth! Your enthusiasm is truly infectious. Thank you! So well explained!

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@francoisbruel9163]

This is simply CAPITAL! This is what we need! I love how you lead us to use both our ears and basic theory skills, in a kind of pincer movement tactics, to feel and understand the stuctural meaning of the piece. Which is wonderfully written, too. Bravo, and thank you! 😀

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@tortoiseperson]

Very elegantly illustrated! I really appreciate your friendly and encouraging manner.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@robertpien8708]

Ty great example of how modulation works and how to identify the road map .

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@diana-]

Thank you, Gareth! Your choice of music for its harmonic intricacies. is excellent. Appreciated!

[@MusicMattersGB]

A pleasure

[@alandenton2973]

This is terrific. It is pushing my knowledge but I really enjoyed this and I did understand it and could follow what you said. Thanks very much.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@jayducharme]

That was fascinating and very clearly explained. Thank you.

[@MusicMattersGB]

A pleasure

[@GeorgeBletchly]

Thank you Gareth. That cleared up a lot of niggling little questions I've been puzzling over for a while.

[@MusicMattersGB]

That’s great

[@bsdiceman]

That was a great way to teach this important topic! Thank you.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@eplumer]

That was really useful to watch the analysis while hearing the changes. Great hint on cancelling of early flat removal. Thanks!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@carlstenger5893]

Great lesson. I, too, saw the second measure as ii - V/V - V. The Eb on the first beat of measure 3 behaving as a pivot chord taking you directly into Ab. That's part of the fun of music analysis -- sometimes there is more than one way to describe what's going on. Thanks!

[@MusicMattersGB]

Absolutely

[@tanyapapoutsakis5213]

YOU ARE THE BEST, I follow you for a long time (15 + years) always in my thoughts and prayers. Tanya (grandma) from Sydney Australia.

[@MusicMattersGB]

Thanks. 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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@davidhayman9330]

This is great! Thanks for explaining so thoroughly 😀

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@TheSupremeMusicMan]

Thank you once again, stellar stuff.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@tackmack]

Beautifully done! Now if only I can find your video on suspensions! Thanks - as always - for the cogent explanation and for making harmonic analysis accessible!!

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@Doro4u]

Amazing job! You are a true gem.

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk

[@The_Invisible_Man]

Thank you so much Gareth! you are a KZbin treasure.

[@MusicMattersGB]

That’s most kind

[@DrLogical987]

fantastic exercises, having done your course etc. thanks

[@MusicMattersGB]

Glad it’s helpful

[@mb10mb10]

Very clear & interesting. Thanks.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@davidpavett8376]

Very clear and helpful. Thank you.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@rolandnador5891]

This is so interesting! Your modulations mimic a chord progression! I - V - IV - I - vi - I just not with chords, instead with keys! I have never thought about it like that! This gives the music a kind of second layer. So cool! Thank you!

[@MusicMattersGB]

A pleasure. Enjoy!

[@jingwong829]

It’s so inspiring, thank you so much.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@bobcosmic]

Always a pleasure to watch and listen to your analysis. I need to be kept on my toes !

[@MusicMattersGB]

That’s most kind

[@bobcosmic]

@@MusicMattersGB Thank you for your reply. What I said is what it is . I’m a trombonist and a ethnomusicologist and I was taught classically as a child and went on to study and play Jazz and other genres but I still listen to western ‘classical’ music every day especially J.S.Bach who remains my favourite composer for obvious and not so obvious reasons !

[@MusicMattersGB]

@@bobcosmic That’s brilliant

[@isoEH]

Thank you Gareth! I heard the first modulation but didn't identify it and felt lost/unsure on the second modulation. Good piece for ear training. Nicely written etude(?): very smooth.

[@MusicMattersGB]

Thanks. Glad it’s helpful

[@theprogressiveprimary9864]

This was well explained, thank you. Nothing I didn't understand from the theory. The hard part is hearing the modulations and making sense of the music.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@janetwestmoreland5539]

Excellent thank you very informative

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@ahmadrezamoradi2258]

Great ! Thank you 🙏

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@jessicapsalmist8205]

Thank you sir for this useful video

[@MusicMattersGB]

A pleasure

[@CozyGamingWithMe]

Thank you!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@lawrencetaylor4101]

A masterful lesson. Merci beaucoup.

[@MusicMattersGB]

😀

[@lawrencetaylor4101]

@@MusicMattersGB I'm preparing my financial life to join Maestros, the suspension is this morning at my lesson with my teacher, I'm resolved to playing several of your pieces you composed with simple counterpoint exercises. I'll let you know soon.

[@MusicMattersGB]

@lawrencetaylor4101 Enjoy your suspension!

[@shipsahoy1793]

😎Gareth, Excellent analysis my friend! 👏 ✌️Executing excitement all the way through..🥳👨🏻

[@MusicMattersGB]

A pleasure

[@tehsoonguan9343]

Thanks !

[@MusicMattersGB]

A pleasure.

[@laura_whittle]

Top-dollar amazing video Gareth…! Love everything about this and Music Matters…! Please can there be more of these for practise…! Maybe it could be a new course…?!?!? 😊

[@MusicMattersGB]

Okay. Will bear that in mind. Glad you’re finding our resources useful. Have a good look through the courses and the Maestros programme at www.mmcourses.co.uk

[@danielo174]

Indeed, a full course on Gareth's more composer focused insights on modulation would be so very useful, its not a topic that has been discussed very often on youtube except for the usual jazz move or two.As always great work Gareth, you are a fountain of useful knowledge. Thanks

[@vskmusic89]

You are a good teacher 💖👍

[@MusicMattersGB]

Thanks. 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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@Trash-Beats]

Young man happy Easter from Africa stay safe God bless

[@MusicMattersGB]

Thank you. You too.

[@pifviva]

Thanks teacher

[@MusicMattersGB]

A pleasure

[@user-gj3zc5mq2c]

감사합니다. 큰 도움이 됩니다

[@MusicMattersGB]

그것은 기쁨.

[@monicaconsigliereLavieenfleur]

Great👏👏👏

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@martinbennett2228]

Thank you. To my ear, the two bars in the minor stand out, but the other accidentals/modulations sound more like colouration.

[@MusicMattersGB]

That can be the subtlety of modulation

[@slaneyaudio1948]

Brilliant

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@FondueBrothers]

I'm out of my depth, but I really enjoy your informative videos.

[@MusicMattersGB]

That’s great

[@billyboultonmusic2171]

That whole first half was all still in Eb. The Bb and the Ab were just functioning as Dominants and Subdominants. The A natural just facilitated a secondary dominant to make a V/V-V-I back to the Eb tonic. The Db was just a bit of mixolydian modal mixture. The phrase functions in Eb still, especially as it starts and ends with an Eb chord

[@MusicMattersGB]

It all demonstrates the subtlety of modulation. Of course the V I in Bb establishes a cadence, which is why it counts as a modulation.

[@ukaszk.8305]

The character of this piece reminds me of XVIII/XIX c. harmonisations of English folk songs and ballads.

[@MusicMattersGB]

😀

[@violinow1673]

Thank you Gareth! I can hear the modulation easily but i wouldn’t be able to identify to what key it is modulated to just by hearing (apart from to minor or major). I remember worrying about ABRSM G8 aural test years ago. The examiner was kindly gave me sort of easier questions at the time but would pianists hear and identify the key, AND what inversion it is by listening twice??

[@MusicMattersGB]

It’s a skill that can be developed but it takes work. 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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@francobonanni3499]

Beauty lesson. Question is it better to put the modulation on a weak beat or a strong beat? Thank you.

[@MusicMattersGB]

Modulations usually spread over more than one beat so it’s really a matter of what works best in the given context.

[@daveroberts9804]

That’s just an interesting piece on its own.

[@MusicMattersGB]

😀

[@marceloyamamoto7178]

Amazing vid! It's a ton of work when you have all four voices to work with. I wonder if you'd have any advice for singers, like me, who usually get the score page with only your voice, and you still need to get the modulation right, even if you don't have all accidentals, only with the horizontal context available. Books like Ottman's sight singing material will often present the melody only, and you have to figure it out. I am scouring the internet after advice on this, but I can't find any. Thanks a lot in advance.

[@MusicMattersGB]

It’s very useful to be able to see what’s going on in the rest of the score. The only alternative is to develop your aural skills so you can hear it. See our Aural Dictation course at www.mmcourses.co.uk that teaches those skills.

[@paulsutton5896]

My favourite key changes occur in Helene Fischer's "Unser Tag" (written by the American: Christopher Applegate). It is just a rising sequence of notes. But it is quite extensive, and I think there are only two actual key changes. But it is worth reminding onesself just how brilliant Helene Fischer used to be.

[@MusicMattersGB]

😀

[@robrevans4259]

Very clear instruction. Thank you. The 7th bar seems to have a somewhat not-quite-home feel to it. Is it in a slightly darker mode of Eb?

[@MusicMattersGB]

A pleasure. I think the 7th bar simply has chords slightly lower in the register with notes fairly close together, which gives it that slightly darker quality.

[@francoisbruel9163]

@@MusicMattersGB …because on an equal-temperament keyboard, specific tonality mood is not really a thing, right?

[@MusicMattersGB]

Some people feel that some keys are brighter or darker than others but I agree that in a world of equal temperament there is an equality, although it’s worth bearing in mind that many string, wind & brass players and singers will say that their intonation makes slight adjustments between enharmonic equivalents / degrees within a scale.

[@privacee1845]

its interesting how the chromatic line makes the first modulation smooth and logical even though it doesnt have a pivot chord.

[@MusicMattersGB]

Yes the chromatic movement adds to the moment.

[@minidrags2]

Hello, could the V - I in Bb major (in the second bar) also be interpreted as a secondary dominant with the Bb major chord being part of the tonic key and the F major being part of C major? It seems to meet the criteria but I might be mistaken! Thanks

[@MusicMattersGB]

It certainly functions as a secondary dominant with the F major chord being V in Bb major.

[@oneeyemonster3262]

it's just weird sometimes...it's even more weird that I comprehend it.lmao But Im still going see/hear everything still remaining in EbMaj/C Min as the parent KEY..and never made any keys changes. Alot of it is also ...it'll be easier for site readers...if Im just inserting chords. I'll see the Db maj as the n6 of C min. I don't have a problem seeing/playing the D Maj to G min. G min is sort of like an inverted Ebmaj7. It's easier if I explain it in C MAJOR/Amin Im used to playing A lyd b3 over the vi chord..it'll simply create a B7 chord ( mix b2)....it use be E Harmonic MAJOR... but Im also used to playing/using the CYCLE of dominant. To me it's just B Maj into E ( MAJOR or min) Im also used to altering the IV chord into min. it's just SOUNDS to me. C Maj7 into F min. It's going down in 4th.. Im also used to inserting the b6 chord degree as a Maj7. It's NOT COMMON...but I've hear it used in 4-5 different songs. So...I came to an understanding. b2.....b3.......b5........b6.......b7 as ANY TYPE of CHORDS. The easiest way to explain it. (if you havnt study or learn all the scales/modes) PASSING or OPTION NOTE/CHORDS.lol I personally use lyd #6, lyd #5, #6 , lyd #2, #6 or Ion #6 as a GUIDE to VAMP over any of those chords Most people see that as loc b4...loc b4, bb7 or lyd #2, 5 The lyd #2, #5 is just from C Harmonic MAJOR aeo b1 (WEIRD) converted it to lyd #2, #5 so it;ll just be B Maj...maj7 or B7 into E min. E min is sort of inverted C Maj7. The n6 chord to the Relative minor...You're just going to play it by ear.. becuase people use variations of it in the same song during bridge. Use as Baby come back ..by the players. It'll use the n6 chord of relative minor....as a PIVOT chord ( act like a V chord) to sort of do a cycle down to the 4th... but it's just the b3 chord degree of the MAJOR scale to me.lol The original is in Eb Major/C min during the bridge Db Maj to Gb Maj...chord Then simply play Gb maj...Ab Maj....Bb Maj ....to Eb Maj chord to start the riff again.

[@nikhilsatay2852]

legend

[@MusicMattersGB]

😀

[@jonorgames6596]

at 07:35 it could easily be considered a V/V, and you can continue in the original key?

[@MusicMattersGB]

Absolutely. It’s a secondary dominant but it forms a cadence in Bb major at the end of that phrase, so it qualifies as a modulation because it’s cadenced in Bb.

[@ronaldm8235]

Is it possible to feel what is coming next without having to know the theory of it all? Every morning before I get out of bed I put in Radio 3 and I wait for the modulation and play my guitar but I suppose I am not ahead because I am hearing and behind of course behind alll the time. Have I got an ear?

[@MusicMattersGB]

You’ve definitely got an ear if you can hear and feel modulation. You don’t have to know the theory but theoretical grasp is often helpful in order to understand what’s happening.

[@merckxmartino]

The A nat and F Maj chord in measure 2 sounds like a V of V in Eb, not a modulation to Bb. And that is reinforced as V of V when the Eb comes back in beat 1 of measure 3. A key change generally requires more than a single accidental to become aurally apparent.

[@MusicMattersGB]

That’s certainly true unless a cadence is formed, which is what happens here.

[@merckxmartino]

​@@MusicMattersGB Not sure I understand your point. There is a difference between the use of a secondary dominant and an actual key change. In fact I hear only 1 key change achieved in your example, that being the change to Cm.

[@MusicMattersGB]

What I mean is that a modulation is established by a cadence so, while the V I in Bb functions as a secondary dominant it also forms a cadence.

[@merckxmartino]

@@MusicMattersGB But... not a key change, in this case.

[@MusicMattersGB]

A cadence in Bb major. That’s the key change.

[@katherineparadis-chateaune8004]

👏

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@sayonara6301]

Is modulation and temporary tonicization the same? Thank you

[@MusicMattersGB]

Not really in that modulation seeks to establish the new key perhaps with a cadence rather than simply passing through a key.

[@sayonara6301]

@@MusicMattersGB thank you

[@MusicMattersGB]

@sayonara6301 A pleasure

[@m.walther6434]

Great lecture, thank You very much. What kind of modulation is this in bar two. I don't see a pivot chord, or is f the pivot tone, or is it a direct modulation (Rückung in German) without pivot chord or note? And is bar three an evasion (Ausweichung)?

[@MusicMattersGB]

It’s using the secondary dominant principle where one simply uses V followed by I in another where the I also belongs to the prevailing key.

[@DanDoroshDetroitMusic]

Is there a reason I'm not aware of that my teacher would be giving me modulation exercises I'm supposed to practice daily and memorize if at least half of this is over my head at this point? There's usually a reason to what he gives me that I figure out down the line but I have about 100 different modulation exercises to memorize and not sure why.

[@MusicMattersGB]

Probably trying to get you used to pivot chords and moving around keys.

[@bucko5427]

just holy mole guacamole

[@MusicMattersGB]

😀