Music Theory - Modulation Basics & Common-Chord Modulations.

This video introduces some of the basic ideas behind modulation, and then discusses the technique of common-chord modulation. It goes along with Chapter 18 in the textbook; please check that out for excellent and detailed information.
0:00 welcome
0:21 Tonicization, Modulation, Change of Mode
2:41 Key Relationships
5:49 Common-Chord Modulation - the basics
10:10 Analyzing a modulating phrase

[@ericawhittal7442]

From South Africa: doing online university theory is sooo much easier with your videos!!! Thank you!!!

[@chadbierman8058]

Thanks for the great lesson! God bless you and Peace be with you!

[@ashar711]

topp stuff ! Bogodarya!

[@ashwinikanadiya7553]

Thank you so much from India.🙏

[@owenb3979]

Well explained! Thanks

[@danielkovitz5073]

Nice video, Dave.

[@ubuntuposix]

i would argue that all chords have a function, because the mind relates them to an established tonic. so those intermediate chords before the cadence into the new key, must be heard in the first tonality (with their function, although they might be confusing or departing - that's still a function, a relation to the tonic), once you put that V-I cadence probably the mind perceives it as the tonic (i'm not sure if the mind can perceive as a DIFFERENT tonic/home), and compares this new tonic with what just happened before (those distant chords), giving support to this new tonic. my question is 1: do you think we can hear a new tonic as NEW/different from a previous one? and if so, does the mind remember the previous tonic that well, for in the case of a return? or it's just a relationship between these tonalities that establishes one as a more tonic/home, than the other? and what is that relationship? the same as the classical functions of chords?(for example: changing the tonic from C to G is perceived as a departure, and returning to C is viewed as the tonic between these 2tonics(C & G)) i may have answered my question, but please tell me your opinion

[@DavidEFarrell]

Hi, thanks for the tough questions! I don't think there is a single answer to the questions you ask. Untrained listeners certainly may not perceive that a modulation has occurred at all; trained listeners may be able to hear the modulation in great detail, identifying the key relationship with a high level of accuracy and remembering the initial tonality as well. I think the result will vary widely from listener to listener.

[@ubuntuposix]

thanks. pop music goes to a subdominant harmony/chord progression in the prechoruses or a second part of verses. is that a sort of modulation? i mean can you modulate to a non ionian mode? or i should ask, can a non-ionian mode using all 7 scale degrees (or that previously used all 7 scale degrees) be tonic? i ask this because whenever a C/Do comes up, it tends to sound like the REAL tonic. the (natural) minor key is no better than any other non-ionian mode. this is a problem regarding the classification of harmonic functions. because while all the scale degree harmonies must have a function (or i argue that they must, otherwise they cannot form a language to be understood by the listener, it would just be aural nonsense), the C/Do scale degree in every mode sounds like a modulation to the real tonic instead of an usual function (in F-lydian, C should have been dominant, in E-phrygian or G-mixolydian it should have been subdominant,etc)

[@DavidEFarrell]

Both popular music and modal music don't really play by the same rules as common-practice tonality. Harmonic function is often less strong in these musics, and you are correct that often popular music has the feeling of very freely moving between relative minor and major keys. Modal music will often depend on factors beyond harmonic function to emphasize the tonic of the mode.

[@Dandiel_]

Thank you so much for all these videos been watching them along with class the videos help for sure thanks!

[@TheApostleofRock]

This is probably beyond the scope of this video, but are non-common chords potentially as useful for modulations as common chords? Say for example your piece is using a progression in the home key, but when wanting to modulate, you could change the quality of one of those chords to that of the target key? I suppose it would be a much more jarring flavor than a common chord modulation. I also really haven't tried it for myself that much.

[@DavidEFarrell]

Sure, there are many examples of a chromatic chord as a pivot. As you suspect the result can be more jarring, but sometimes that is effective! I think trying it out and seeing what your ears tell you is the best approach.

[@jacquiestevanus959]

Your videos are excellent! To which textbook do you refer?

[@DavidEFarrell]

Thanks! Kostka & Payne's Tonal Harmony is the text to which I refer. It is a commonly used collegiate music theory text.

[@tardiscupcake2328]

do you know of any worksheets on modulation? ive been looking and cant find any

[@DavidEFarrell]

Thanks for your question! Textbook/workbook combos by authors like Kostka/Payne, Laitz, or Roig-Francoli all have some good exercises. If you're looking for free online stuff, I don't know that I have many resources for you. Teoria.com has some good explanations, and musictheoryexamples.com has lots of good excerpts for analysis, though they don't tell you the answers.

[@mishasawangwan6652]

tardiscupcake just practice your circle of 4ths/5ths. if you practice this enough, you will understand.

[@ericas8398]

One way to sound more professional: better microphone

[@tylmansfist]

First.