Music Theory: Enharmonic Modulation & Chromatic Mediants

More on some unique techniques in chromatic music.
0:30 Defining enharmonic modulation
2:08 Enharmonic Modulation with V7 / Ger+6
5:06 Enharmonic Modulation with viio7
9:25 Key relations from Enharmonic Modulation
11:06 Describing Mediant Relationships
14:36 Example: Mediants from CM

[@vocalchords3609]

Simply wonderful teaching! You are a hugely gifted educator from your technical mastery of the material to your delivery - a fabulous and faultless combination! Thank you very much David.

[@jessefabian6723]

Thank you so much for this great video, I'm in college studying music, now I'm in harmony III and it's not easy to understand it but with your videos I can understand it better.

[@joanna_88]

im in 5th grade and im learning this

[@charlytorres1077]

Joanna Liu ok this was a year ago .. do you Understand it now?

[@classicfilms8071]

@@charlytorres1077 no

[@charlytorres1077]

@@classicfilms8071 😂

[@James-io8lj]

Re 1st Do you know the hymn tune Anchor by Alfred Beer 8,8,8,8,8,8

[@SamuelPeckman]

This is the second time I have watched your video. There is a great deal in it to learn. Excellent video. Thank you.

[@SamuelPeckman]

An excellent video. You explained these things very well. Thank you.

[@julialesnichycomposer4965]

Thank you so much David! Finally I found so much information about modulations!

[@metaflanger1975]

Hi there, if you ever get time I would like to know why augmented or diminished chords are not considered when discussing mediants? For example from C, Ab augmented is a major 3rd away and even shares the common tones of C and E so does this not still fulfil the criteria of a mediant chord? After all, C and Ebm share none, it just is a min3rd away. So my question is can't any chord type that can be achieved a major or minor third away (in either direction) from the root be considered a valid mediant? I totally get that there was a conservative approach to this and that it relaxed a little over time (double chromatic mediants) but I can't find any info that discusses why dim and aug chords cannot be part of the concept. I am aware that originally chromatic mediant chords had to share the same quality (major or minor) but I can't find any information that explains wholly why this should be the case or even who stated this. I'd really appreciate your thoughts on this if possible. Thanks. Adam

[@DavidEFarrell]

Hi! My impression - and this is just an educated impression - is that because those chords play a smaller role in tonal music, they do not get as much focus in the broader discussion here. That's a simple explanation, but I think there is something there.

[@susansmith5007]

Good morning. Are your videos/lectures available in PDF format?

[@DavidEFarrell]

no, just here as videos.

[@michaelzahnwehgitarre8957]

Thanks for this and all your other great videos, I really appreciate your work! When you resolve the German Sixth Chord you interpolated a 4,6 suspension, which i assume is to avoid parallel fifths? Would it be possible to just avoid those by leaving out the A alltogether? I ask because generally the 5th is considered the least important note in a dom7th chord but in this case, coming from a popular music background, i would label this the b9 of a non existent V of V ... Do you know of examples within classical music where it is used that way ? thanks

[@DavidEFarrell]

Thanks! The general question about omitting the 5th is certainly good. There's certainly a version that can do this, but you just have to watch doublings/voice-leading, because there are a lot of tones that have strong resolution tendencies that you don't want to double.
As for labeling, there are usually a lot of different ways of looking at chords. I see the connection you make as the lowered ninth of a secondary chord. I can't think of an example off the top of my head, though Chopin has a number of piano works that emphasize ninth chords, so maybe consider looking there.

[@michaelzahnwehgitarre8957]

thank you... :)

[@michaelzahnwehgitarre8957]

after some further research about this: I think the so-called "italian sixth" should describe exactly that case...

[@kylesager]

Enjoyed this helpful video.

[@hjjones7011]

Thank you so much for this!!!! You explained it way better than my theory lecturer.

[@iloverumi]

thanks

[@SamuelPeckman]

Thank you for this very helpful video.

[@ajadrew]

Just what I needed, thank you!

[@CaeSharp]

Your speech pattern are highly sophisticated. You sound like someone with good ear training.

[@michellegeerees7313]

Very helpful, thank you.

[@nikitofin]

i love your videos!!!

[@davidlea430]

How do you know when you want to modulate, or what key you want to modulate to?

[@DavidEFarrell]

David - this is a tricky question. I would study some music that you enjoy and see how that music handles key change - both in how it fits into the structure of music, and what key relationships are typical. Different musical styles - jazz, classical, popular - all handle modulation quite differently.
Some things to keep in mind: Long stretches in one key tend to feel more stable; modulations to very closely related keys (the dominant, relative keys) can often be executed in a very smooth way. Frequent modulations can make the music feel less stable; abrupt modulations to "distant" keys have a similar effect.
The best way to learn is to write, listen to your work, and see how it sounds. Best of luck!

[@davidlea430]

Thank you!! Any recommendations for songs to listen to?

[@deadlights0n]

Thank you !

[@nitaigauranga3849]

You are good teacher. THanks

[@marlonrodriguez7697]

Great job on the video. I enjoyed it a lot.

[@skadadz8686]

very clear!!!

[@alexpianoplayer15]

Interesting

[@johannsebastienbach]

Can you simply play it? I dont care what theory just want to see how it works and replicate with ear