Music Theory Lecture: How To Use Modulations Part 2

This episode of Everything Music is How To Use Modulations Part 2. (This is the updated version)
We define and explore:
Part 1
1. Diatonic Common Chord Modulation
2. Chromatic Pivot Chord Modulation
3. Enharmonic Dominant Modulation
4. Deceptive Cadence
5. Enharmonic Diminished 7th Modulation
Part 2
6. Diminished 7th to Dominant 7th Modulation
7. Chromatic Mediant Modulation
8. Common Tone or Pivot Note Modulation
9. Direct or Linear Modulation
10. Chain Modulation
11. Parallel Modulation
12. Modal Modulation
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[@jeffreymatthews7647]

Also, 6:18 - "Very well. You shall be the Fellowship of the Ring"

[@lebannerfan65]

Wish Rick would do some more of these long-form, in-depth theory videos again.

[@frankthomas8782]

The two videos in this series were hella useful!

[@michaelmurphy987]

Thanks so much for this, Rick. Currently taking college music theory and this helps immensly when I need to remember some of the finer points of the lectures. Also bought your book, which is an excellent companion piece and recommend it for anyone studying theory. Awesome go-to reference for all things music theory!

[@cxiv]

What you are passing along to us in such detail, enthusiasm & clarity all while remaining humble is really inspiring. Your topics could put one to sleep if not taught by the right energy yet im glued to my seat & taking notes trying to apply what I can to the little I know. The world is a great place when knowledge is shared freely - please keep on going! Its Dec 2020 & im in 2017 so I think ill be good for a while... Thanks again

[@midimusician6359]

Thanks for all you've been sharing... this is the best channel on KZbin!

[@joeljohansson6097]

Nice tutorial! This is my simplistic pretext about what modulation really does, and I think this basic principle is often overlooked in tutorials: 1) Destabilize the current tonal center (often overlooked), 2) Establish a new tonal center. Destabilizing is often done by introducing an out-of-key note in a smooth way by using some chromatic movement OR introducing acceptable tension (like a dim chord). Establishing a new tonal center (major key), in its simplest way, is done by using V7 -> I - leaving it undisputed what the new tonic is. Guided by this principle, I come up with my own ideas of modulation without resorting to any exact formulas. This is a great video for inspiration, though!

[@dhruvalance1323]

Yes, principles save you time from formulas. for example any sharped note to a key center becomes VII degree and would like to resolve up a half-step. (being the 3rd of a dominant) any flatted note becomes the IV degree (a b7th of the new key resolving half step or whole step down to a maj or min chord accordingly.

[@MattGalter]

Great tip there

[@alistaircornacchio5727]

@@dhruvalance1323 can you add more to this? seems very practical

[@Blendletan]

Criminally overlooked point being made here. Homework exercise: Perform a key change TO THE SAME KEY. I'm pretty sure I've seen Buckethead do it before.

[@joeljohansson6097]

@@Blendletan Performing a keychange to the same key (relative church modes not allowed) would require you to just slightly divert from the tonal center before the new section, right? I think I did this recently. I borrowed from the harmonic minor scale -7, in conjunction with the neapolitan chord and the secondary dominant. It was smooth but diverting.. and then hitting the old minor tonic felt very nice :)

[@lewisjones4158]

That D Dorian > C Lydian > F# Aeolian transition was just beautiful Rick. A lot of it is how you voice them!

[@ZabalaGuitarrak]

On modal modulation G aeolian belongs to Bb major , in the key Eb the aeolian chord in Cm

[@joethebar1]

Zabala Guitarrak yeah I think he made a mistake

[@UnC1v1Liz3d]

Yes G should be the Phrygian chord of Emaj. Unless I am missing something.

[@javiermedina5313]

Exactly because Eb has the note Ab, G aeolian doesn't have b9 (the note Ab)

[@clintonblake1436]

I think one of his brains was tired being that he seems to have more than one in his head...hahaha...man works hard! Thank you Rick.

[@paulcoghill3638]

I totally respect that he didn't correct the video; it made me review and question it more thoroughly! Love the teaching style and practical examples. Wax on, wax off Mr Miyagi - I'm learning!

[@mackymccarthy]

this is awesome I have an exam approaching in March where we are asked to use a simple modulation, I'm going to use one of the Leven used here and blow their minds ! thank you Rick

[@ultramother]

I'm in awe! Great lesson. Thank you Rick

[@HHJoshHH]

Another gem Rick! Great job man!

[@LorenzoRoccoNaturallyPiano]

I came here because I wanted some ideas on how to structure a tutorial for my piano improvisation channel and got hooked. You are explaining things so clearly and in a structured way. I am glad II found you!

[@andreasfranzmann9634]

I just subscribed to the most valuable channel on KZbin! Thank you Mr. Beato!

[@CalebPendergast]

Man, I'm so glad I found your channel!

[@mikeysplayhouse1971]

This has been super useful. I’ve had to fire up the sequencer to save all my ideas. I’m just shedding music based on these few examples.

[@songmary8316]

Hi Rick, the series of your awesome lectures are very helpful for composing. Thanks a lot

[@pedromartins6904]

I really don´t undersand how this video can only have 10K views?! One of the best for sure!!! Thank you Rick

[@delaware-llc]

Probably because we are one of the few who can actually handle and see chances to apply this knowledge in music :)

[@hom2fu]

he said in the video 18:44

[@baronvonbeandip]

I come back to this and the first one alot. If you ever redo em, Rick, please keep these up and link to the new ones. I can't afford to lose this info. EDIT: Oh, it's all in the Beato Book 4.0. Nevermind, do what you want lol

[@jcmendoza7086]

Thanks Rick! You are a godsend!

[@treylem3]

This is great content ! It feels 'over my head', at 1st, but i know it pays off in spades. Thanks Rick

[@freethetide]

Thank you Rick! You are a very kind person to share 🙂

[@anderson.ziemmer]

I honestly think Rick deserves many more likes!

[@SstalkerS]

Thank you Rick

[@LousyPainter]

Very nice. I especially like the modal modulation.

[@Alephs11]

You’re amazing Rick

[@joemarquand1746]

Rigby Otto! I love the subtitles.

[@robertkscorpio3680]

I am reaching SOME of the Modal Chords (from the other Video ) on Guitar-with 6 fret stretches and voiced a bit more toward Pop - not quite McCoy Tyner yet lol .But I never heard of the Modal Chords in terms of half step location -not in the Theory Books so excellent work Rick Beatto.

[@chessematics]

The 6th one sounded really Beethovenian. Loved it

[@aloysiusinc5875]

Rick is The Gatekeeper! 🤯

[@icymars]

What a great lesson, thank you so much!

[@curtisbrown3847]

Wonderful 👏

[@liuzrikardo]

Amazing work

[@lebeelouis1938]

wowwwww rick i'm gonna by your book !

[@nemarjean7329]

In the direct modulation case Cmajor to B major G can be considered as a substituted dominant chord of F#, subte resolution which ensures a smooth modulation. Nice trick!

[@adampeters9684]

Love the LOTR vibes

[@timojurvelin]

well now this is the good stuff.

[@maxiother]

im just here hearing the demonstrations because damn nice chords DXdxdXd

[@PDMartinWarnberg]

I Love this! Come to Sweden and have some workshops!

[@RickBeato]

+Martin Wärnberg invite me :)

[@beanzthumbz]

3 or 4 of the songs from the lotr score at 5:46

[@pierremorand9159]

yeahh all the chromatic mediant part sounds like that

[@kaspianocz6330]

Amazing

[@classicalhero7]

When you used the chromatic mediant modulation of C to E flat it sounded very similar to the title music of Lord of the Rings.

[@dannydimercurio577]

Haha same. I was waiting for the rest of the theme to play out. :P

[@RobertDannyDavis]

That is because it is the same move:) You will find chromatic mediants all over Hollywood music as almost a staple sound of that style.

[@ArtemON2033]

Is it ok, that this modulation sounds very good and easy to ear? Not like modulation

[@sinaruden9280]

Wow Rick, you are a beautiful man. hope one day i can be like you. spreading priceless knowledge for free. truly a divine deed.

[@WldHny1]

Terrific

[@timojurvelin]

Would be crazy neat if you could include a midi-out from your keyboard to following videos , or some kind of notation for the spots when you are playing. Those are quite common among piano lesson videos.

[@xxllx86]

Thumps up if you've heard that Lord of the Rings! xD awesome Sir!

[@aidenjones6408]

That Cmaj to Ebmaj sounds like the lord of the rings soundtrack

[@paulandnyssa]

Have recently discovered your channel, enlightening and well explained information. Have you considered getting a patreon to try and support your channel?

[@jaylozier4083]

He has been on Patreon, but left it for whatever reason. You can support him on PayPal, if you like.

[@3OrMoreBones]

Hey, thanks for the video! During school, I'll be working on a personal project of modulating into quartertonal keys (like Jacob collier has done). Would you have any unique tips for that set of a system?

[@dennismenezes9423]

Would be cool to select one music and aply substitutions to show the examples . . And, we send music to you to analise in the channel would be great too

[@jnbovee]

How TF does this not have millions of views??? lol

[@himynameisdizzle]

Amazing videos but once you got to modal modulations I fell apart. Hard to remember what parent key each mode is from :( Thanks again!

[@Synna89]

Listening to 06:20.. Suddenly: Omg, it's Lord of the Rings :D!

[@laragarner7920]

The chromatic mediants are totally Howard Shore

[@tonibrunet]

Hi, Mr. Beato. I got a doubt. When you talk about chromatic mediant modulation, are you talking about chords or about keys? I mean, in a case, You wanna go from C to E. You need to go straight from the chord C to the chord E or you can do a progression in the key of C and go to E? for ex: Can you do C - F - G - Am - E (in wich you'd stay in C in the first 4 chords and then change to E) Thank you very much for your time and videos.

[@smogfood]

"...and you basically have to memorize the little chart that I made first." Shows a shot of a physics equation explaining the big bang I'm gonna have another beer and play a 3 chord song.

[@Butts666]

The chart does look intimidating, it might be easier to think "ok what are the major (not dominant) chords in this minor key / what are the minor chords in this major key? Let's pick one and either change the third or move the whole chord down a halfstep (in major) or up a halfstep (in minor) and then maybe change the third". It's a much less sophisticated way of thinking about it but it's also one that might be easier to digest.

[@smogfood]

I was being mostly facetious, but your explanation is very helpful. Thanks

[@baronvonbeandip]

It's just a modal modulation to aeolian. Don't wanna piss Victor Wooten off.

[@MattGalter]

You're letting the way it looks intimidate u, are u tired of playing the same 3 chords yet? Lol

[@idontgivea1769]

The chromatic mediant thing? It’s actually a very simple concept, but, like everything new, it seems complex. You’ve learned to walk, speak, write… you can learn this 😉

[@jeffreymatthews7647]

Anyone else hear the start of "Can You Read My Mind" by the Killers with that C chord at 6:00?

[@leophoenixmusic]

Question: isn't mediant modulation just the same as tertiary modulation?

[@jeremylum8766]

Hi Rick, one question? When you move from C mixolydian which is key of F going into G aeolian which is actually Bb key right? then why is it Eb key there??? Thanks Rick

[@RickBeato]

You are correct Jeremy. It was just one key in a flat direction there. I know you get the concept! Hope you're well! Rick

[@tomoki3186]

Hello Rick Beato. I still don't understand why G Aeolian is equals to Eb ionian, could you help me? Thankyou!

[@jeremylum8766]

Thanks Rick!!!

[@manuwar86]

@@tomoki3186 G Aeolian would be the same as the 6th mode (or 6th chord) of the Bb Major (Ionian) scale. It's easier if you think of A Aeolian being the same as C Ionian. Ionian is what we call major and Aeolian what would be a minor scale made of the same notes.

[@denizkahyaoglu8156]

What is a D dorian chord ? As far as I know, the chord for the D dorian mode is D minor, so how come it doesn't sound like that at all in the video ?

[@jcout25]

What can I modulate to from Gm11?

[@DaveBrons]

On Modal modulations in the flat key direction... How does Eb major give you G Aeolian as a modulation option?... that doesn't seem right.

[@matcoddy6097]

its a mistake, he said in comments

[@marksderberg7043]

1:43 sounds like Dre - Whats the Difference :D

[@matcoddy6097]

Since (fully) diminished 7th chords are symmetrical, and can be turned into 4 different dominant chord's, since each note of the chord when lowered a half step, becomes the new root of a dominant chord, that mean's you have 4 choices for which key to modulate to, yes? With it still fitting the description of being diminished 7th to dominant 7th modulation?

[@davidblanc458]

yes you got that too ^^ then I tried a C fully dim 7th with left hand and with right hand a normal B major 1st inversion, I was confused but it is also a perfect transition chord, I guess it can be called Eb dim7 flat13

[@matcoddy6097]

Thanks Dean!!

[@JariSatta]

Modulations Chart (Part 2) 8:37 Cool idea to show it like this. Screenshot, people! Now, learn how

[@LohPro]

regarding modal modulations, what's the reasoning behind picking the specific modes from each key? is he just picking modes at random? i know he's going in a particular direction around the circle, but specifically the individual modes he chooses to play. is it random?

[@idontgivea1769]

Seems to me it’s very open for experimentation

[@TomRivieremusic]

Are your chords written out in your book?

[@Gawkie]

hello rick very informative thank you^^ i have a question tho, when it comes to diminsihed 7th to dom7 do i use the diminished 7th of the tonic of the key im in or or diminished 7th in that scale like lets say im in D minor and i want to modulate, the diminished chord in D minor is E diminished, when i want to modulate do i use D diminished7th or E diminished 7th thank you

[@matcoddy6097]

It's NOT the half diminished chord built on the 2nd scale degree which is used, instead its the fully diminished chord, built on the 7th scale degree of a HARMONIC minor scale, which is used (in D minor, it would be C# fully diminished, of the D HARMONIC minor), so its the FULLY diminished 7th chord built on 7th scale degree of the harmonic minor, and then you lower the root of the C# down to C, by one semitone, while the rest of the notes remain static. That root, becomes the dominant of the key that you modulate to. For example, In D harmonic minor, you go D-F-D (i-iv-i) , to C# fully diminished-Cdominant7-F major. F major is now the key you are in. By the way, here's something extra, notice how since fully diminished chords are SYMMETRICAL, you can lower ANY of the 4 notes in that chord, and it turn's from a diminished 7th, to a dominant 7th, with the root of that dominant 7th chord being which ever note you lowered (although they will be in inversions)

[@Gawkie]

Mat Coddy THANK YOUUU i know how they function and how they are used to modulate but never knew how to implement them to make sure i get it, lets say im in G minor and i want to modulate i use F# dim7 right? also what if i want to modulate half a step up( from D minor to D#) it cannot be done directly through C# dim7 so i have to keep chain modulating till i reach my desired key? again thank you so much

[@matcoddy6097]

1/ yes, you use the FULLY diminished 7th chord. In this case F# dim7 of G minor. 2/ one of my favorite way's to modulate 1 half step up, by using the dominant, of a tritone sub, if that makes sense. So in other words, instead of using just a tritone sub, & going back to the home key, instead, I go to the 5th of a tritone sub, and create a dominant there, & modulate to where the tritone sub is. Does that make sense?

[@matcoddy6097]

Also, Since (fully) diminished 7th chords are symmetrical, and can be turned into 4 different dominant chord's, since each note of the chord when lowered a half step, becomes the new root of a dominant chord, that mean's you have 4 choices for which key to modulate to, & since 3 fully diminished 7 chords cover all 12 keys, that means you can use this technique to modulate to any key, from any key. Be aware, I asked a question below regarding the classification of this modulation, as I'm unsure if it fits dim 7 to dom 7 classification, but I am sure it is a modulation.

[@matcoddy6097]

Also, you could modulate a half step away by doing this (In C major). In C major, use a chromatic mediant chord of Eb MINOR, and treat that Eb minor as the supertonic of Db/C#.

[@basslessonsglasgow4542]

Some of the mediant modulations dound like batman's music

[@dhruvalance1323]

#7 Rick is a DIRECT modulation to mediant or submediant, that has to have it's own confirmation cadence after the direct modulation. The parallel chord to a chromatic degree like from C major going to Ebminor has nothing to do with the key. This last one for the sanity of students should have left out. because including that movement means a YEAH WHATEVER SITUATION that is confusing for students trying to complete the puzzle of tonal movement and MODULATION. The direct movement from C to Ebminor without confirmation belongs to a Symmetric Harmony sound, which is cool but it does not hang out with the concept of MODULATION or tonal harmony. I won't write again soon in your videos because it has been 2 in a row that I comment (video 1 and 2 of these series), I am not a negative guy who only sees the fault you know. But I felt important to honestly and with good vibe to you. We all are students and teachers of all we come across, is a question of recognizing how it is like that. So I do learn from you too. I wish you all the best and comment great things you share a lot for shure.

[@VitalTherapy]

Yes, this is confusing to me and I'm still trying to work out the relationship of Ebmin to Cmajor. It's not from the parallel key, so where is it from?

[@Abi-rk5ce]

Sounds like Enya music.

[@Raoaone]

I know this is on me so go ahead make fun of me, but I can’t figure out what the overall point is. Are we trying to make some guide to writing a song? It seems like we’re just starting with a chord and adding 2 other chords, sometimes having something to do with the circle of fifths, and ending on another chord and going yeah! That’s my modulation. Guess I have to go back to school. I only know that kind of modulation in a pop song where the final chorus goes up a half or full step. Reminds me of a game I have with my wife. We’ll be listening to a song and the melody line will go up, maybe just the singer vamping a bit, and she’ll go. There’s a modulation! And I’ll just shake my head. But maybe she’s on to something.

[@YouDoTheShoot]

your a Don ...Thanks Rick

[@matcoddy6097]

Is anyone aware of the SPECIFIC name of the type of this modulation, D7- e minor? As in, instead of modulating D7 -G, you actually modulate D7 - E minor (or possibly B minor), by using the common tone chord substitution,? Maybe its called "Modulation to common tone substitution chord"?

[@Graham_Day]

Mat Coddy It's a deceptive cadence. The setup of the D7 creates the expectation that you'll resolve to G, as D7 is the dominant of G major. You're subverting that expectation by resolving to G major's relative minor key, e.

[@matcoddy6097]

Wouldn't it only be a deceptive cadence if we were already in G major, & then went to the e minor? For example, if were in the key of G, and use an E7, & instead of modulating to the new key of A, we modulate to its relative minor, f minor. Does this fall under "deceptive cadence" modulation?

[@matcoddy6097]

So, I understand G-D7-em is an deceptive cadence, but is (key of) G-E7-F minor, (key of F minor) a "deceptive cadence" modulation? I was under the impression deceptive cadence modulations were from major root, to its relative minor, by using the deceptive cadence via the dominant of the key, not for other secondary dominants, was I mistaken?

[@Graham_Day]

Yeah it's not a super clear terminology. In the case of your later example, if you are in G major, and use an E7 to create the expectation of A major coming next, you are using a "secondary (or applied) dominant" (which means the dominant of a key other than your original), but if you resolve it to f minor, you are still "deceptively" resolving that dominant, since you're moving into the submediant of the expected key (note: deceptive resolution can go to the vi OR VI of the expected key, so you could move from E7 to F major, but it would be an irregular deceptive revolution, it's more common to go V7 -> vi of the new key than to go V7 -> VI, but it is done and it's still a deceptive resolution). I agree with you that the use of the word "cadence" here is odd. The E7 -> f is technically a deceptive "cadence" only within A major, which you are not actually moving to in your example. It might be best to say that this is a just a deceptive resolution of a modulation by applied chord (which in this case is a secondary dominant) instead, given that you used an applied dominant and then resolved it deceptively. Modulation by applied chord is super popular in the Common Practice Period-style composition. Since E7 doesn't exist in G major, it can't be called a pivot chord (pivot chords have to exist in the same quality in both the original and target [or expected target] keys), so it would just be an applied/secondary chord. At least that's my understanding of it. A more experienced theorist might have a more satisfying way of labeling it haha.

[@Graham_Day]

Mat Coddy I was just taught to refer to it as a modulation via the deceptive resolution of an applied dominant. Again, there might totally be a more succinct way of naming this modulation that I'm just ignorant of, so I apologize if I'm not explaining myself well or have a hole in my reasoning.

[@1TreukFlyyy]

What is a "modal chord" ? I see you spelling "C Lydian" and then playing a chord ?

[@wolfmanjock]

Is there a reply to this?

[@jeroensimons7525]

hi Rick, could you make a video about a psycho analysis of the musician type in general?? Left,right brain thinking and free thinking, letting go of ego while practising,perform, autism related to musicians and being sensitive and vulnerable and maybe mental illness related to being musician...Just an idea...Good luck with your work man!! cheers from The Netherlands, Jeroen Simons aka Drummer JS.

[@georgemartisius7226]

Mine the only one who just hears the Halo soundtrack

[@wagnergoldberg]

correct your mistakes

[@ashokflash]

c min scale notes are : C D E♭ F G A♭ B♭, B♭ dime how u worke B dim?