For the level of education i am receiving through the internet.. Some pay 1000's ... This man is doing the world such a service i wish there was some way he could receive more recognition for it
I agree. Love this stuff. For the first time I am looking at this in a different way...meaningful conversations with others. Learned all of these techniques in college but this is different and more meaningful.
I started watching this channel after 10 years of playing rock guitar. Each video was exploding my head at first, but after each month I was methodically studying them, I understood more and more. Right now I feel like I'm on a completely different level as a musician, knowing all these concepts is liberating. I cannot thank you enough for that, Rick.
@@petermuller161 I mean, it's not like this is hidden knowledge. Maybe for garage band noobs. But everything in there is available in books since centuries, good ones, too. Also I bet there's dozens of websites out there. Not trying to hold you back from buying Beato's book and watching his channel, but it's not "secret knowledge" ya know..
Pew TheBIind Right, and he's happy that he doesn't have to go read all those books to learn the stuff from it that's actually practical in playing modern music, and can simply watch this relatively short & straight forward video, instead; as am I, as are u (otherwise u wouldn't be here). Nowhere did he claim this to be "secret knowledge," simply knowledge he hasn't come across b4 in all his years of musical interactions, and I can relate- clearly proving it is not well known, frequently talked about, or as "available to all" as u seem to assume it to be
Rick, watching this video in 2023 is such an amazing experience. Sure, your production value today is much better, along with editing. But there is something so endearing about seeing your mistakes, it humanizes it and I can relate to it. Love the content.
This is a very common occurrence: Sees Rick Beato video from 1-2 yrs ago, clicks on it, 3 mins in, have learnt something new... pause video, click like button. Video gets it's own tab in my browser until I have thoroughly gone through it and understood everything. There is so much I have missed and so far something to take from every video. Love it!
this channel is amazing, the teacher is great, and you HAVE to love the bloopers! hahaha he does an error and he starts talking again about it like he will edit the video later, BUT HE DOESN'T EDIT ALMOS AT ALL! hahahahaha, you sir are a wise musician but also have a great sense of humor and great sense of being fine and relax about yourself! it's always very important for me that a teacher shows this in action, we can't take ourselves too serious all the time! thank you for your gret work.
Felt the same way! Makes me feel like I'm the trenches learning with Rick, that things are within reach and possible and that learning through mistakes is okay and these things are tools, not sacred cows.
When I watched Rick's videos, I can't understand anything. I stepped back, learn the basic, back to it, stil don't get it, learn some more, back to it and repeat, and finally I understand what he is talking about. Learning music is one of my goal in life. To all who still doesn't understand Rick's videos, don't give up. Keep on learning. Sorry about the rant.
The problem is that Rick is really teaching advanced level students, anyone below that level is swimming in deep and turbulent water, which is full of modulation.
Dear Rick, you probably do not see this comment, but I want to say thanks. Thanks for all the amazing lessons you have. You are my biggest resource for new things. I can not thank you enough. Please keep doing this.
Note: at 5:15 Rick erroneously calls Bm the ii chord, he later affirms it as the iii chord in 5:54. Apparently because the 2 commonly shared chords being Bm and Em (where the transition starts happening/the beginning of the modulation), and Em being the ii chord (predominant) of the new key is how he made this simple mixup. He remained correct however in calling Bm the Relative Minor to the new key, the vi of DMaj. Not that Em also being a Relative Minor to GMaj couldn’t have added to the muddle. Just wanted to clear this up for any new viewers because it also threw me for a loop at first. Just shows what a conundrum Modulation is when even the masters make mistakes lol
Simply the best, my brother. For the self-taught players who only know their craft 'by ear' you explain what we hear and feel. That allows us to communicate in our universal language.
Hey, Rick, when you started talking about Suspensions at around 6:40, the chord series you played (to demonstrate this method) were soooo beautiful! So emotional! So powerful! Amazing!
on some levels im sad it took me until a year or two ago to find you. On the other hand, im so grateful that i have your entire catalogue to sift through up until this point. I can't say it enough rick, thank you, you're too good to us!
Rick this is an incredible musical education that you provide us musicians for free it never ceases to amaze me what I learn from your videos you have a true god-given talent to teach What I also really like is when you demonstrate the changes on the piano you sit on the cords for a couple seconds each so that it registers in our minds what the change is most people blow through it and you allow the musician to hear the changes to understand I think that's critical
Thank you so much, Rick. Your lectures are golden, and a gift to humanity. When I become rich and famous, I will be better able to compensate. My dad was a prof musician w Lawrence Welk years ago, and if I showed him this he would be happy and grateful. Thanks again, and long live music!
I really love this topic. I applied this and second dominant chords and played for my friends and I noticed their reaction to my playing was alot different. They said the song had more of a journey
If you turn subtitles on, it announces Rick's name at the beginning of the video as Rigby Otto haha Great video. Finally clears up all the questions I've been having.
Rick! I sent this vid to my mom, my bass player, and a couple others! Love this man! It’s like I get to go to music school for free! If I wasn’t a musician I would pay you for this man! 😂 🤭😭🤣
Rick, I want to tell you how much I appreciate your videos. They are helping me tremendously. I've been playing piano for decades mostly by ear. I can read music, but I can't sight read. Your tutorials are filling the wholes of my experience and bringing my musicianship up to a higher level and more marketable. Thanksgiving giving is next week. And I say THANK YOU for sharing your very valuable knowledge. Blessings to you and your family. Cynthia (Cyndi)🍂🎶🍂🎶🍂🎶🍂🎼🍂🎼
5:17 is confusing me. B minor is the iii chord of the key of G, and the vi chord of the key of D, but Rick calls it the ii chord. At 5:55 Rick calls B minor the iii chord, maybe I should watch it all before I comment. I have now watched it all. As with many of Rick's videos the length of play is between a 1/4 and 1/3 of the amount of time that it takes to watch and understand, then there is all the note-taking to do as well. This one pushed me a bit, and I feel better for that. At one point in my struggles I even felt a tiny bit guilty about some of the 'I don't need to know theory man' guitar players who have been pinned against a wall and screamed at by me as I try to teach them some very basic theory, but that feeling of guilt soon passed. Thanks for all that you do for us Rick, it is much appreciated, I wish you all the best and long may you continue.
I actually recently got another one to add to this list (from 12tone). Augmented 7th (ie V+ of harmonic minor) introduces a tritone that leads you to a major/minor key. Since the Aug is isomorphic, you can move to one of three keys off it (similar to the Enharmonic Dim7 trick)
This video is fantastic and so simple to understand. Modulation has always puzzled me, but now I think I have a better grasp of it. Time to put this into practice :) Thanks for sharing your knowledge Rick. It's very much appreciated.
In this case not exectly. He played added note in bass, making it inversion efficiently. On a piano it’s not possible to distinguish between G# and Ab if you play the notes in the same octave, it’s the same place on the keyboard. On a guitar you could have a note in the same octave sounding a bit diffferent if you used dofferent string (physical dofference). However in nontempered instruments such as violin the difference might be significant
I had beginning theory (circle of 5ths) along with my early piano lessions, but never advanced far beyond that. I've heard these chord progressions in classical music and never knew they were modulations. I thought a modulation was just going a half step up or down as in pop music. LOL. This is fascinating--it really gives me a new appreciation of musicianship. My only regret is that I'll never have enough time in my life to watch all your videos.
Thank you so much that helped me a lot to figure out which technique I could put on feelings that I like in certain film scores ! Thank you so much for you work !
Even though much that Rick speaks about I playing guitar drums guitar mainly last five six years and watched a lot of UA-cam people and learned a lot but Rick's channel and Rick himself is just a music educational goldmine at someone else said pretty much said the same thing somewhere I think it was this one but in any event or anyways just keep on doing what you're doing Rick it's working out great for me I'm sure for many other people as well peace
@@Lauraraksin77 he should be using a camera. It's better to see the voices' movements while he explains. Don't you practice harmony on piano? I bet you do and you should do. It's the same thing.
Regarding the Enharmonic Dominant explanation, the Augmented 6 chords are built off the #4, not flat 6, and it is always in the first inversion, so the flat 6 is in the bass.
I'd love to see you break down some modern songs in these terms to show what kind of modulation technique they are using and the effect it has. I'm thinking primarily of songs like "You're the Inspiration" by Chicago... Where they modulate from Ab major in the intro, to B major in the verse... Then it's like they mod back through Ab on the way to Eb in the chorus, which then changes to Gb before returning to B for the next verse! Modulations everywhere! ... And my mind wants to understand why it works so well, but I feel like I need your genius to help me with that.
14:45 Enharmonic Modulation: Why there is an F# in the key of Cminor? I suppose it's not derives from any standar minor scale like natural minor or harmonic etc.
Rick the Deceptive cadence modulation is not really a deceptive cadence modulation, it is just a deceptive cadence then the confirmation of new modulation, but it did not came from the deceptive cadence at all. it could have come from IIImin to VImin then Bmin7(b5) E7 Amin. I respect you a lot Rick, you are the man, you have an amazing vibe and share so much with every body, we have a lot in common, when I see you is like a mirror, is a strange feeling. BUT a true DECEPTIVE CADENCE MODULATION (if you want to call it that way) would be the concept of a SECONDARY DOMINANT resolving a Whole Step or a Half Step UP resembling the deceptive in major or minor key. Because the way you are presenting it only applies to the VI chord in a key center. If we stick to the model you have been teaching in this video, one can modulate to a diatonic region like modulating from C mayor to; Dmin or Emin or Fmaj or G major or Amin, or can modulate to a chromatic region like you have just presented Dbmajor. So taking the liberty of your own examples we can NOW Modulate from C Major to all this regions just using Diatonic Secondary Dominants: modulate to Db from(C7) or modulate to Dmin from (C7) because it is a true V7 bVI, or V7 VImin. Same with all other diatonic regions. Emi from D7, Emaj from D7 (explained ahead), Fmaj from E7. Gmin or Gmaj from F7 (oh yes it is correct because deceptive cadence to Major chords a whole step above comes from modal mixture (the backdoor progression bVII7 Imaj) so possibilities are endless. I have would love to share at your program if you like how to categorize all regions, there are 4 categories, with 7 modulations on each category. Category 1 being the most light in effect. category 4 the most distant and edgy. what do you think? all the best Rick, thank you for doing all this possible to all people!
***LONG POST*** So I went really wild with this writing down the first modulation from the first 5 mins of video, those based on common chords, and I divided a whole 360-degree circle into 12 equal parts based on the number of notes contained within a western music 12-note scale (each note = 30 degrees of the Circle). Doing this, I found that calculating possible modulation choices based on a common chord is possible without having to sit at the instrument and do a bunch of guess work. - Anything on the Circle of Fifths that's within 60 degrees on either side of the starting key of the song is suitable for common chord modulation, as they have some chords in common. - If you start from any given note and move clockwise in the sharp direction on the Circle, your chances for suitability decrease each time as you head towards 90 degrees from the starting note. Modulating to a common chord that's 30 degrees away from the starting note always leaves only 4 possible choices for key modulation. Modulating to a common chord shared between the starting note and another key that's 60 degrees away on the Circle only leaves 2 possible chord options to choose from. [Nothing in A major (90 degrees) is suitable with C major (at 0 degrees, assuming C major is your starting key) for common modulation using that particular method of modulation. The same rule applies when moving towards 60 degrees counterclockwise, too.] - Any key that's between 90-270 degrees on the Circle of Fifths away from the starting key of the song is unsuitable for common chord modulation. Beyond 90 degrees, the keys are too dissimilar to modulate between unless you use another modulation method other than common chords. The shared chords - (# is clockwise = R, b is counterclockwise = L) 30 degrees # of starting note: tonic chord, maj 3rd, 5th, 6th of *starting key* are found in desired key modulation (") 60 degrees # of starting note: maj 3rd and 5th are found " 30 degrees b of starting note: tonic chord, 2nd, 4th, 6th " 60 degrees b of starting note: 2nd and 4th " I hope this has helped someone? Anyone???? Lol :D
Hi, Rick! If I'm not mistaken your video just breaks somewhere around 12 min. The picture starts to differ from audio and seems not to come back till the end of the vid. Can you please fix this?
I just thought of something cool. So in my homework before I did a modulation from the relative minor back to the same major key by doing a V/vi and VI/vi which is a IV in the major key which I followed with like a ii7 V7 I. I could follow up that VI chord from the deceptive progression in a minor key treating that as a neapolitan 6th chord in the key of the dominant. If you follow the typical baroque thing turning a minor root into its own dominant 7th chord (say A minor to A 7) you can follow that after with Bb/D (the deceptive progression and neapolitan 6th back in the home key), Am/E (i 6 4), and E7 right back in home key of A minor. I'm gonna have to explore a lot more options to figure out interesting ways of modulating.
I have found it very helpful in the past to use all the described modulations and just create exercises where I would repeat the modulation in the new key. IE if I did the G to D major, I would continue the exact structure restarting on D major and go toward A major. than E, B, etc etc till you eventually get back to G. Obviously some of the types of modulations would require an addition in order to repeat it as a sequence in the same fashion. Thanks for your channel btw. I have been looking to escape tonal music for a little over a year now as almost everything tonal has become too predictable to my ears and has created a musical "rut" for me! I am very thankful on your videos on modern techniques as that is what I really crave now.
I am a bit lost with one example at 5:37, you said: "Bm = 2nd chord of G..." well, isn't it the 3rd? So not at all a pre-dominant chord! But still, it sounds great once passed to the Em then to A and then to D. Anyway, what am I missing? Thanks! :)
Does Rainbow's "Since You've Been Gone" have modulations? It sounds like the keyboardist is doing something very interesting, or perhaps the keyboardist and guitarist are purposely "clashing" (about halfway through the song, and then again) in order to give the impression that the mood of the song has changed?
At 4:45 you introduce a chord progression to modulate from Gmaj to Dmaj. Other than the pleasing sounds they make, were there some 'rules' or something that guided the selection of the chord progression of Gmaj, Cmaj, Dmaj, Bmin, Emin, Amaj, Dmaj? Thank you, sir.
Very good stuff Rick. I have just posted some improvisation where I apply some of the concepts you explain so well. I have a classical background, and i really feel you deliver fantastic value.
if you put your ads in the bits between sections for example we'd be able to watch them more, whereas by putting them at crucial moments we have to skip them asap to get the completed point we are by then gasping for.
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"?
I see somebody "liked" this comment. That gives me the impression they too are curious of the specific name of that type of modulation. If I do find the name of that modulation, I will post it here, so they will see the name. :)
I'm still learning but I don't think this is a modulation because youre not in the key of D ever. V7->vi is, which is what you have, is instead considered a deceptive cadence
I really hope you can re-edit the sound track (out of sync pretty badly). I want to watch Part 2 of this, but I am just not able to keep up once it gets to 12:35. I really appreciate your vids, sir.
Is there any SW to assist with modulation? Ideally the SW should allow entering the last few chords before the point where modulation should start, setting the length in bars and beats for the modulation to happen, setting the target key and should then suggest different chord progressions / arpgeggios for the modulation.
Interesting subject Rick! I think though that you forgot to edit the video. Seeing you talking about this makes me wish I was back at the conservatory again and finishing my degree to be a music theory teacher.
Hey Rick, I'm currently 15 years old and I'm a saxophone player that lives in Tennessee and has made the Tennessee Allstate convention and National Band for classical saxophone. I'm trying to diversify myself as much as possible to make myself a more marketable musician such as learning theory, composing, ear training, learning jazz and improvisation. I've already completed a Theory 1 class and have watched most of your videos on improvisation and composition. My question is where should I go from here as far as music theory to better educate myself on topics useful to musicianship and specifically college? Also even though I have watched your many amazing videos many times over and have fully digested the information I still find it hard to bring these concepts into my improvisation and composition? Thank you so much Rick for all the knowledge you've contributed to the internet!
+Zack Smith Hi Zach - it takes time to incorporate new concepts into your improvisations. There's a great video by Michael Brecker on practicing and incorporating ideas from practice into your improvisations. I will try and find the link and post. Learn everything you can about everything :) i'm sure you're way ahead of where I was when I was your age. I only started getting serious about music when I was 13. If you have any questions feel free to write me at my Gmail. Thanks! Rick
This channel is a musical gold mine
The quality and the quantity is insane.
With an excellent teacher !
Agreed
it surely is. I worship this man.
Totally agree. Rick is a beast.
For the level of education i am receiving through the internet..
Some pay 1000's ...
This man is doing the world such a service i wish there was some way he could receive more recognition for it
True every word. This guy is gold.
He did produce a platinum record ;). Honestly though, he is a godsend.
Patreon??? 😑
I agree. Love this stuff. For the first time I am looking at this in a different way...meaningful conversations with others. Learned all of these techniques in college but this is different and more meaningful.
Yep
I started watching this channel after 10 years of playing rock guitar. Each video was exploding my head at first, but after each month I was methodically studying them, I understood more and more. Right now I feel like I'm on a completely different level as a musician, knowing all these concepts is liberating. I cannot thank you enough for that, Rick.
Took the words out of my mouth. This channel is a gold mine of ideas/insights.
I'm with you! Folks pay serious cash for this kind of knowledge, I'm going to have to buy the book twice.
@@petermuller161 I mean, it's not like this is hidden knowledge. Maybe for garage band noobs. But everything in there is available in books since centuries, good ones, too. Also I bet there's dozens of websites out there. Not trying to hold you back from buying Beato's book and watching his channel, but it's not "secret knowledge" ya know..
Semyon Boyko I feel u man I hope I get better
Pew TheBIind Right, and he's happy that he doesn't have to go read all those books to learn the stuff from it that's actually practical in playing modern music, and can simply watch this relatively short & straight forward video, instead; as am I, as are u (otherwise u wouldn't be here). Nowhere did he claim this to be "secret knowledge," simply knowledge he hasn't come across b4 in all his years of musical interactions, and I can relate- clearly proving it is not well known, frequently talked about, or as "available to all" as u seem to assume it to be
I love it even more because of bloopers)
Alex Paclin lol I knowww he’s the man
yeah, they skipped the editing on this one. stuff to do! haha
Yes, if even Rick Beato gets tripped up by theory now and then, there's hope for me too.
I was gonna rant about it, then I read your comment and just agreed :D
Same! I'm intensely learning and laughing at the same time!
I hope Rick doesn't take it personally, we're basically laughing in relief. :D
Rick, watching this video in 2023 is such an amazing experience. Sure, your production value today is much better, along with editing. But there is something so endearing about seeing your mistakes, it humanizes it and I can relate to it. Love the content.
This is a very common occurrence: Sees Rick Beato video from 1-2 yrs ago, clicks on it, 3 mins in, have learnt something new... pause video, click like button. Video gets it's own tab in my browser until I have thoroughly gone through it and understood everything.
There is so much I have missed and so far something to take from every video. Love it!
this channel is amazing, the teacher is great, and you HAVE to love the bloopers! hahaha he does an error and he starts talking again about it like he will edit the video later, BUT HE DOESN'T EDIT ALMOS AT ALL! hahahahaha, you sir are a wise musician but also have a great sense of humor and great sense of being fine and relax about yourself! it's always very important for me that a teacher shows this in action, we can't take ourselves too serious all the time! thank you for your gret work.
+alexbulerias I leave them in because I think they are funny! I love bloopers!! Even my own :)
Felt the same way! Makes me feel like I'm the trenches learning with Rick, that things are within reach and possible and that learning through mistakes is okay and these things are tools, not sacred cows.
When I watched Rick's videos, I can't understand anything. I stepped back, learn the basic, back to it, stil don't get it, learn some more, back to it and repeat, and finally I understand what he is talking about. Learning music is one of my goal in life. To all who still doesn't understand Rick's videos, don't give up. Keep on learning. Sorry about the rant.
@AD Shyn🤣🤣🤣
The problem is that Rick is really teaching advanced level students, anyone below that level is swimming in deep and turbulent water, which is full of modulation.
Dear Rick, you probably do not see this comment, but I want to say thanks. Thanks for all the amazing lessons you have. You are my biggest resource for new things. I can not thank you enough. Please keep doing this.
Note: at 5:15 Rick erroneously calls Bm the ii chord, he later affirms it as the iii chord in 5:54. Apparently because the 2 commonly shared chords being Bm and Em (where the transition starts happening/the beginning of the modulation), and Em being the ii chord (predominant) of the new key is how he made this simple mixup. He remained correct however in calling Bm the Relative Minor to the new key, the vi of DMaj. Not that Em also being a Relative Minor to GMaj couldn’t have added to the muddle. Just wanted to clear this up for any new viewers because it also threw me for a loop at first. Just shows what a conundrum Modulation is when even the masters make mistakes lol
Oh my! Such good info. What I like best, are the "uncut" scenes. :)
Simply the best, my brother. For the self-taught players who only know their craft 'by ear' you explain what we hear and feel. That allows us to communicate in our universal language.
Hey, Rick, when you started talking about Suspensions at around 6:40, the chord series you played (to demonstrate this method) were soooo beautiful! So emotional! So powerful! Amazing!
on some levels im sad it took me until a year or two ago to find you. On the other hand, im so grateful that i have your entire catalogue to sift through up until this point. I can't say it enough rick, thank you, you're too good to us!
This is definitely one of the rougher edits, but the content is still just so damn good.
Rick this is an incredible musical education that you provide us musicians for free it never ceases to amaze me what I learn from your videos you have a true god-given talent to teach
What I also really like is when you demonstrate the changes on the piano you sit on the cords for a couple seconds each so that it registers in our minds what the change is most people blow through it and you allow the musician to hear the changes to understand I think that's critical
Thank you so much, Rick. Your lectures are golden, and a gift to humanity. When I become rich and famous, I will be better able to compensate. My dad was a prof musician w Lawrence Welk years ago, and if I showed him this he would be happy and grateful. Thanks again, and long live music!
Yes, Rick deserves it, he gives so much.
This man is a genius Im learning everything I wanted to learn about music in his channel. THANK YOU!!
Thank you Rick! Abundant blessings to you good sir, I appreciate you.
I really love this topic. I applied this and second dominant chords and played for my friends and I noticed their reaction to my playing was alot different. They said the song had more of a journey
This is exactly the material and explanation I have been searching for! Thank you for providing this video Rick that was very well explained
If you turn subtitles on, it announces Rick's name at the beginning of the video as Rigby Otto haha Great video. Finally clears up all the questions I've been having.
Rick! I sent this vid to my mom, my bass player, and a couple others! Love this man! It’s like I get to go to music school for free! If I wasn’t a musician I would pay you for this man! 😂 🤭😭🤣
In the Enharmonic Dominant example at around 17:00 I was immediately reminded of Because by The Beatles when the German 6th chord comes in.
Rick, I want to tell you how much I appreciate your videos. They are helping me tremendously. I've been playing piano for decades mostly by ear. I can read music, but I can't sight read. Your tutorials are filling the wholes of my experience and bringing my musicianship up to a higher level and more marketable.
Thanksgiving giving is next week. And I say THANK YOU for sharing your very valuable knowledge.
Blessings to you and your family.
Cynthia (Cyndi)🍂🎶🍂🎶🍂🎶🍂🎼🍂🎼
5:17 is confusing me. B minor is the iii chord of the key of G, and the vi chord of the key of D, but Rick calls it the ii chord. At 5:55 Rick calls B minor the iii chord, maybe I should watch it all before I comment.
I have now watched it all. As with many of Rick's videos the length of play is between a 1/4 and 1/3 of the amount of time that it takes to watch and understand, then there is all the note-taking to do as well. This one pushed me a bit, and I feel better for that. At one point in my struggles I even felt a tiny bit guilty about some of the 'I don't need to know theory man' guitar players who have been pinned against a wall and screamed at by me as I try to teach them some very basic theory, but that feeling of guilt soon passed.
Thanks for all that you do for us Rick, it is much appreciated, I wish you all the best and long may you continue.
Yea, I wonder if he just misspoke.
Mr. Beato, this video is hilarious! Your edits are too funny.
Regarding the information it contains, priceless!!! Thank u!
Rick Awesome this deservers more attention for me you are on of the best music teacher I had and i am not even in classroom.
You have the best music theory channel on UA-cam, thank you so so much ❤
The audio becomes majorly unsynchronised with the video around the 12:30 mark, which is unfortunate as I was finding this very interesting!
The keyboard demonstration sound is incredibly sweet! Thank you!
the bloopers are so funny, great video, one of the most useful
I actually recently got another one to add to this list (from 12tone). Augmented 7th (ie V+ of harmonic minor) introduces a tritone that leads you to a major/minor key. Since the Aug is isomorphic, you can move to one of three keys off it (similar to the Enharmonic Dim7 trick)
Just want to say thanks, Rick. Blessings to you in 2019.
This video is fantastic and so simple to understand. Modulation has always puzzled me, but now I think I have a better grasp of it. Time to put this into practice :) Thanks for sharing your knowledge Rick. It's very much appreciated.
22:17 funny how the enharmonic dim7 is essentially just the same thing just ‘spelt’ and also happens to sound different. music is fire
In this case not exectly. He played added note in bass, making it inversion efficiently. On a piano it’s not possible to distinguish between G# and Ab if you play the notes in the same octave, it’s the same place on the keyboard. On a guitar you could have a note in the same octave sounding a bit diffferent if you used dofferent string (physical dofference). However in nontempered instruments such as violin the difference might be significant
Really amazing exposition. This channel helped me improve tremendously as an amateur self-taught musician and I am very grateful. .
I had beginning theory (circle of 5ths) along with my early piano lessions, but never advanced far beyond that. I've heard these chord progressions in classical music and never knew they were modulations. I thought a modulation was just going a half step up or down as in pop music. LOL. This is fascinating--it really gives me a new appreciation of musicianship. My only regret is that I'll never have enough time in my life to watch all your videos.
Thank you again for your lessons Rick and for free! Some of these modulations I've never used! Very excited to try them out!
Interesting lesson showing how nicely you can switch keys.Few sus chords and melody becomes so much more interesting.Thank you Rick again.
Thank you so much Rick as usual! Good night!
In Norway we call the "deceptive cadence" a "disappointing cadence" :0)
Thank you so much that helped me a lot to figure out which technique I could put on feelings that I like in certain film scores ! Thank you so much for you work !
At each chord change I "hear" and feel the marvellous Parsifal ...
"Rigby Otto" Closed captions are amazing
I like this guy Rigby Otto
Love the education value of this channel thank you 😊
Even though much that Rick speaks about I playing guitar drums guitar mainly last five six years and watched a lot of UA-cam people and learned a lot but Rick's channel and Rick himself is just a music educational goldmine at someone else said pretty much said the same thing somewhere I think it was this one but in any event or anyways just keep on doing what you're doing Rick it's working out great for me I'm sure for many other people as well peace
a camera above the keyboard would be great ;-)
John Cavanaugh he has a legit point: I find the changes hard to follow
@John Cavanaugh wow.. can you tell us the exact voicings he is using mr know it all?
@@Lauraraksin77 he should be using a camera. It's better to see the voices' movements while he explains. Don't you practice harmony on piano? I bet you do and you should do. It's the same thing.
Yeah, it's hard for guitarists to keep up
You're the best rick !!!! You're something else !!
Regarding the Enharmonic Dominant explanation, the Augmented 6 chords are built off the #4, not flat 6, and it is always in the first inversion, so the flat 6 is in the bass.
Lots of perfect 4th and Maj. 2nd root movement, though not exclusively. Vocabulary is the key to knowledge in most any field of study.
yelling over the strings “SUS 4 WITH A THIRD”
Rick you're an absolute legend. Great lesson
The audio in this video is disharmonic with the picture starting when Rick is talking about the Chromatic Pivot Chord Modulation.
I'd love to see you break down some modern songs in these terms to show what kind of modulation technique they are using and the effect it has.
I'm thinking primarily of songs like "You're the Inspiration" by Chicago... Where they modulate from Ab major in the intro, to B major in the verse... Then it's like they mod back through Ab on the way to Eb in the chorus, which then changes to Gb before returning to B for the next verse! Modulations everywhere!
... And my mind wants to understand why it works so well, but I feel like I need your genius to help me with that.
14:45 Enharmonic Modulation: Why there is an F# in the key of Cminor? I suppose it's not derives from any standar minor scale like natural minor or harmonic etc.
The best channel of youtube !!!!!
Rick the Deceptive cadence modulation is not really a deceptive cadence modulation, it is just a deceptive cadence then the confirmation of new modulation, but it did not came from the deceptive cadence at all. it could have come from IIImin to VImin then Bmin7(b5) E7 Amin. I respect you a lot Rick, you are the man, you have an amazing vibe and share so much with every body, we have a lot in common, when I see you is like a mirror, is a strange feeling. BUT a true DECEPTIVE CADENCE MODULATION (if you want to call it that way) would be the concept of a SECONDARY DOMINANT resolving a Whole Step or a Half Step UP resembling the deceptive in major or minor key. Because the way you are presenting it only applies to the VI chord in a key center. If we stick to the model you have been teaching in this video, one can modulate to a diatonic region like modulating from C mayor to; Dmin or Emin or Fmaj or G major or Amin, or can modulate to a chromatic region like you have just presented Dbmajor. So taking the liberty of your own examples we can NOW Modulate from C Major to all this regions just using Diatonic Secondary Dominants: modulate to Db from(C7) or modulate to Dmin from (C7) because it is a true V7 bVI, or V7 VImin. Same with all other diatonic regions. Emi from D7, Emaj from D7 (explained ahead), Fmaj from E7. Gmin or Gmaj from F7 (oh yes it is correct because deceptive cadence to Major chords a whole step above comes from modal mixture (the backdoor progression bVII7 Imaj) so possibilities are endless. I have would love to share at your program if you like how to categorize all regions, there are 4 categories, with 7 modulations on each category. Category 1 being the most light in effect. category 4 the most distant and edgy. what do you think? all the best Rick, thank you for doing all this possible to all people!
Great teaching AGAIN AGAIN AGAIN THANK YOU
Thanks for sharing your vast knowledge Rick.
Rick fix the video, please. For some reason the second half has become unsynchronised with the audio!
Great! Thank you for solving things out in our heads!
rick always made great videos
Wow! What a good video!!!
is it me or at some point the sound doesn't fit the image anymore ?
Dang just the demonstration on the keyboard of modulating between G and D sounds great
I love how he makes a mistake, then starts over again like its going to get edited out, then it doesn't.
***LONG POST***
So I went really wild with this writing down the first modulation from the first 5 mins of video, those based on common chords, and I divided a whole 360-degree circle into 12 equal parts based on the number of notes contained within a western music 12-note scale (each note = 30 degrees of the Circle). Doing this, I found that calculating possible modulation choices based on a common chord is possible without having to sit at the instrument and do a bunch of guess work.
- Anything on the Circle of Fifths that's within 60 degrees on either side of the starting key of the song is suitable for common chord modulation, as they have some chords in common.
- If you start from any given note and move clockwise in the sharp direction on the Circle, your chances for suitability decrease each time as you head towards 90 degrees from the starting note. Modulating to a common chord that's 30 degrees away from the starting note always leaves only 4 possible choices for key modulation. Modulating to a common chord shared between the starting note and another key that's 60 degrees away on the Circle only leaves 2 possible chord options to choose from. [Nothing in A major (90 degrees) is suitable with C major (at 0 degrees, assuming C major is your starting key) for common modulation using that particular method of modulation. The same rule applies when moving towards 60 degrees counterclockwise, too.]
- Any key that's between 90-270 degrees on the Circle of Fifths away from the starting key of the song is unsuitable for common chord modulation. Beyond 90 degrees, the keys are too dissimilar to modulate between unless you use another modulation method other than common chords.
The shared chords - (# is clockwise = R, b is counterclockwise = L)
30 degrees # of starting note: tonic chord, maj 3rd, 5th, 6th of *starting key* are found in desired key modulation (")
60 degrees # of starting note: maj 3rd and 5th are found "
30 degrees b of starting note: tonic chord, 2nd, 4th, 6th "
60 degrees b of starting note: 2nd and 4th "
I hope this has helped someone? Anyone???? Lol :D
very interesting
could you upload a pdf of that somewhere?
i´m trying to relate the 12 music tones with the 12 colors tones as well
Excellent lecture on modulations.
5:47 G - C - D / Bm / Em - A7 - D
can i double like..... This is probably one of the key lectures for me.
Hi, Rick! If I'm not mistaken your video just breaks somewhere around 12 min. The picture starts to differ from audio and seems not to come back till the end of the vid. Can you please fix this?
Brilliant stuff! Thanks Rick.
Thank you so much for this vid, Rick! We owe you so much :D
I just thought of something cool. So in my homework before I did a modulation from the relative minor back to the same major key by doing a V/vi and VI/vi which is a IV in the major key which I followed with like a ii7 V7 I. I could follow up that VI chord from the deceptive progression in a minor key treating that as a neapolitan 6th chord in the key of the dominant. If you follow the typical baroque thing turning a minor root into its own dominant 7th chord (say A minor to A 7) you can follow that after with Bb/D (the deceptive progression and neapolitan 6th back in the home key), Am/E (i 6 4), and E7 right back in home key of A minor. I'm gonna have to explore a lot more options to figure out interesting ways of modulating.
I have found it very helpful in the past to use all the described modulations and just create exercises where I would repeat the modulation in the new key. IE if I did the G to D major, I would continue the exact structure restarting on D major and go toward A major. than E, B, etc etc till you eventually get back to G. Obviously some of the types of modulations would require an addition in order to repeat it as a sequence in the same fashion. Thanks for your channel btw. I have been looking to escape tonal music for a little over a year now as almost everything tonal has become too predictable to my ears and has created a musical "rut" for me! I am very thankful on your videos on modern techniques as that is what I really crave now.
Once again a lovely lesson !
I would love to see this tutorial in different genres, such as Bossa Nova, Smooth Jazz, Neo Soul or Pop.
Great lesson Mr. B. My closed captions call you Rigby Otto. lol
I am a bit lost with one example at 5:37, you said: "Bm = 2nd chord of G..." well, isn't it the 3rd? So not at all a pre-dominant chord! But still, it sounds great once passed to the Em then to A and then to D. Anyway, what am I missing? Thanks! :)
it's the second chord of A where he was modulating to iirc
You're teaching what I learned in 2nd year university theory...this is awesome!
Does Rainbow's "Since You've Been Gone" have modulations? It sounds like the keyboardist is doing something very interesting, or perhaps the keyboardist and guitarist are purposely "clashing" (about halfway through the song, and then again) in order to give the impression that the mood of the song has changed?
At 4:45 you introduce a chord progression to modulate from Gmaj to Dmaj. Other than the pleasing sounds they make, were there some 'rules' or something that guided the selection of the chord progression of Gmaj, Cmaj, Dmaj, Bmin, Emin, Amaj, Dmaj? Thank you, sir.
Very good stuff Rick. I have just posted some improvisation where I apply some of the concepts you explain so well. I have a classical background, and i really feel you deliver fantastic value.
Great stuff and the mistakes left in are a hoot 👍🏻👍🏻
Love those modulations
Love it when he gets the whiteboard out. F yeah
Thank you Rick
Many thanks indeed Rick...I will now go and lie down in a darkened room.
if you put your ads in the bits between sections for example we'd be able to watch them more, whereas by putting them at crucial moments we have to skip them asap to get the completed point we are by then gasping for.
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"?
I see somebody "liked" this comment. That gives me the impression they too are curious of the specific name of that type of modulation. If I do find the name of that modulation, I will post it here, so they will see the name. :)
@@matcoddy6097 Isn't that just bVII7 to i- ? I'm fairly certain that is just a backdoor cadence..
I'm still learning but I don't think this is a modulation because youre not in the key of D ever. V7->vi is, which is what you have, is instead considered a deceptive cadence
I really hope you can re-edit the sound track (out of sync pretty badly). I want to watch Part 2 of this, but I am just not able to keep up once it gets to 12:35. I really appreciate your vids, sir.
I love the George Harrison My Sweet Lord modulation, it is so simple yet so very effective and so sweet. Please explain it through Rick?
Thank u só Very much! Obrigado!
thank you for this video Rigby Otto
Is there any SW to assist with modulation? Ideally the SW should allow entering the last few chords before the point where modulation should start, setting the length in bars and beats for the modulation to happen, setting the target key and should then suggest different chord progressions / arpgeggios for the modulation.
Interesting subject Rick! I think though that you forgot to edit the video. Seeing you talking about this makes me wish I was back at the conservatory again and finishing my degree to be a music theory teacher.
Hey Rick, I'm currently 15 years old and I'm a saxophone player that lives in Tennessee and has made the Tennessee Allstate convention and National Band for classical saxophone. I'm trying to diversify myself as much as possible to make myself a more marketable musician such as learning theory, composing, ear training, learning jazz and improvisation. I've already completed a Theory 1 class and have watched most of your videos on improvisation and composition. My question is where should I go from here as far as music theory to better educate myself on topics useful to musicianship and specifically college? Also even though I have watched your many amazing videos many times over and have fully digested the information I still find it hard to bring these concepts into my improvisation and composition? Thank you so much Rick for all the knowledge you've contributed to the internet!
+Zack Smith Hi Zach - it takes time to incorporate new concepts into your improvisations. There's a great video by Michael Brecker on practicing and incorporating ideas from practice into your improvisations. I will try and find the link and post. Learn everything you can about everything :) i'm sure you're way ahead of where I was when I was your age. I only started getting serious about music when I was 13. If you have any questions feel free to write me at my Gmail. Thanks! Rick
More enlightening demos thanks