Excellent! I absolutely love music theory. I write/record my own music...and when I first started 10 years ago, I thought, "I don't need music theory...I'll just play from my heart. I don't need those stuffy old rules. Music isn't about rules." How wrong I was.... I soon realized how limited I was not knowing the theory. So...I invested thousands of hours of study into every aspect of music theory. Once my head was full to the brim, I could finally "forget" all the rules and simply play from my heart. But this time, those rules were deep within me...and came out without me trying. The best composers are great because of HOW they break the rules. If you just break the rules as you wish...it'll sound chaotic and lame. But, if you break rules in creative interesting ways, it adds massive dimension to your music. Modulation is something I haven't studied much....but I'm trying to dig into it now. This video sure helps. For anyone who wishes to hear an amazing example of modulation in a pop song....listen to The Beatles' "Penny Lane." McCartney used TONS of modulation in that song....something like 7 or 8 key changes in the entire song. Yet, it's so tastefully and deftly done that the result still sounds smooth and harmonious. That song is a perfect case study for how modulation can add depth to a song.
@Mr Gimble This is a very late response, but I'll try to answer in case you or anyone else reading has this curiosity. As for the A minor part: think about what the 2-5-1 progression really is, and it's really just moving down in fifths. Let's look at the classic 2-5-1 in C: Dm - G - C D moves down a fifth to G, and G moves down a 5th to C. It makes sense to bring an Am in there, because you're essentially just extending the cadence of the 2-5-1 by adding another note a fifth above the 2: the 6! A moves down a fifth to D, D moves down a fifth to G, and G moves down a fifth to C! Not only that, but the transition to C major to A minor is very smooth, because A is the "relative minor" of C major. Therefore, Am - Dm - G - C is just an extension of the 2-5-1 cadence, done by adding another chord (the "6") a 5th above the D (the "2"). As for the e minor before the modulation, this is only a guess of mine: that movement up to the e minor sort of establishes the upward movement the harmony will make when he modulates, but keeps it in key the first time around so it sounds smoother when he modulates?... that's entirely just a guess though. I guess a simpler answer is, it just sounds nice :) I hope this wasn't confusing! lol
You cannot bend the rules when you don't know them..... so to break them, you need theory first, otherwise you're just experimenting with trial and error (Which is very VERY cool also!, but it takes so much more time). This is what I've found out through the years because I also was adamant on not putting boundaries to "my creativity" with rules . . . . . it doesn't, au contraire mon ami, your mind just get more connections to choose from. . . .
This teacher here in this video. I owe him big-time ..... not just for the golden teachings in this video, but every other one of his videos. He REALLY knows music - and probably is prodigy material as well. It's an honour to see these videos.
2:56 is divine to listen and amazing to learn and play...! I have been learning music for past 10 years now and I have started learning music theory more deeper than ever. It is really amazing to unfold many such theory in music that actually add more depth to your music. Another great video from Mangold project. Thank you so much!
Sorry for the crackles here and there, guys! I didn't calibrate the input levels on my sound card correctly so you'll here a few minor pops here and there.
Thanks so so much. Absolutely excellent, you make me understand theory perfectly in every tutorial. I have fought how to change keys in my playing over years,yet i have not overcome. What is shocking is that, i play all the 2 5 1 progressions in all twelve keys,but never knew i could change keys through this means. You have helped me greatly improve my piano playing and here you are today again making another mark in my piano life. Thanks so much sir.
Excellent video as always. You teach musical concepts that others try make out to be very difficult, which aren't when broken down. thanks again. Btw, your new cat is adorable.
Thank you so much .for sharing your musical experience. I have learned so much from your videos. I am just a 81 yr. old hobbyist with a passion for musical expression. Richard
Hi poposki, Thanks for the kind words, I really appreciate it! I'm going to try and keep a more continuous presence here on UA-cam in the future with new videos coming out every week or so.
Not bad ,,,,kinda cheeky but it works ,very progressive but nifty ,and well done nonetheless, bravo man,i should point out that you can get back to C M from Eb M quickly by doing a backdoor 5/1 via Fm ,Bb 7, C M ,but doesn't matter ur demo is impressive 👍
Good stuff as always, back in my composition days I used to like to throw in a dom7 on one of the existing chords and use that to pivot; say on the last beat of that chord. Thanks for these videos !
Your videos have helped me a lot, I am a student of classical music but I belong to a group at my church and your teachings have helped me a lot, thank you for sharing your knowledge, use the Google Translate My English is bad, every time I hope your video forward to learn much more, thanks ...
Thanks for the explanation. I wasn't trying to do anything in particular. I was just experimenting with what I saw in your video. The way you do many modulations near the end of the video starting at the 5:18 minute mark was excellent. Are there any more of your videos that show something along those lines.
Thanks. I don't have any other videos on modulating between keys per se, but the following contains 2-5-1s and key modulations, so you could say it's somewhat related: Jazz Piano Harmony: Chord Voicings, the 2-5-1 Progression and The Power of Transposing. Another related video, which talks more about the concept of chord substitutions (which is really what you're doing when you substitute Fm-Bb-Eb for Eb!), is Chord Substitutions: A Tutorial. Hope that helps somewhat.
MangoldProject I will be looking at those too. My goal is to be able to take a simple melody like Happy Birthday or Amazing Grace and have it sound like it was professionally arranged. In other words I'd like to be able to beef up simple melodies and play them in different ways. I'm not a novice in my playing but lack a lot in the harmony department.
Minute . 2:57 Hola , una pregunta usas acordes con 7 menor para la mayoría de las progresiones , aunque en la anotacion no la pones. Estoy en lo correcto?? gracias por todo tu conocimiento.
Thank you so much for this video. it's so helpful!! I've got a short question: does 2 5 1 works for minor keys too? If not, which is the way to modulate in a minor key? Thank you a lot!
a minor 2 5 1 in A would be Bm7b5 - E7 - Am. The five is turned into a dominant chord in minor because otherwise there wouldnt be a strong tension to resolve to the tonic chord (like in the major 251). this implies the Harmonic Minor Scale however, which is Minor with a sharpened seventh degree. the Dominant chord on Five is a 7b9 chord, which is of a different nature than the one in a major 251.
It sounds great when you change up the voicing and make it a 9, a Sus, or a 7 but how do you decide which gets what flavor and when? I don't seem to see a pattern to it. Is it just that you develop a sense as you practice or...?
+MrRickyWow Hi. This is a sense you develop. You must first practice these different voicings and variations until you internalize them; once you do that, you'd be playing a piece and then thinking "hey, that sound I played a while back might fit in here ... " and you experiment. Many variations will not fit, but being able to play them quickly and test them out really helps out a lot.
@Mr Gimble The 2 5 1 refers to the new key, not the original key. In this case he is starting off with a basic chord progression in the key of C Major and then playing the 2, 5 and 1 chords of the key of Eb major to modulate to that new key :)
Fantastic, thank you. So it's 2 5 1 of the key to be transitioned to (from any other key?). Why from C Dm G do you refer to D as minor? Simply because in C key signature, a Dorian mode has no sharps nor flats? The G will only be sorta G major (with a natural at the top)?
First of all, you're a great teacher and I love your tutorials. However in this one, instead of using chord substitutions in your chords, I believe it would be easier to follow if you just used basic triads to get your point across. As a beginner, I found that trying to follow you chord progressions thru inversions was very pleasing to hear, but confusing to a beginner like myself. I had to rewind the tape several times to grasp the concept. Thanks for all your time spent teaching theory, it's greatly appreciated, as you can see by your following.
Thanks for the feedback, JP. Would you perhaps agree that I should keep the complexity in there, but explain it more thoroughly? It seems the more advanced voicings piqued your interest which is a good thing. By the way, it's also a good thing that you worked hard to understand the progression. We tend to remember most the things we work hardest for.
Interesting concept. Well taught! I was wondering whether we could modulate to any possible key from any possible key. If not, it would be great if someone could explain. Thank you.😊
MangoldProject Well thats kinda answer :) . Just wondering why sus2 chords are more common than sus4, as you told in one of your vids. Makes kinda less sense to me, because of the "masking" the tonic more than a sus4 chord. Correct me if I'm wrong :) Thanks for your vids!
great lesson thanks a lot, I have 2 questions, - if I was in key of Am which is the relative minor for Cmaj, would the 2 5 1 still be (Dm-G-C) or it changes to (Bdim-Emin-Amin). - is there another way to mdulate because moving from Am to Fm doesn't sound smooth to me, thanks again for this video
1. Bdim-Em-Am (although, depending on the variant of the minor scale, it might be Bdim-E-Am, or B-E-Am, or some other slight variation). 2. Going into Fm you'd might use Am-G-C7-Fm. It's all in the voicing ... you need to try different voicings.
I started one of your videos & wrote down Ab GBbCEbG then my computer either acted up or I hit a button & lost that video. If you know which video started that way, please let me know. I love your videos. Thank you so much.
Excellent video as always Mangold, do you have any songwriting secrets of modulating between minor keys? Could be natural, harmonic or melodic minors? Thank you very much! Best Regards
As usual you have been fantastic in exploring music in the most simpler way. Thanks. Can you help in deciding on what notes should I play as a melody on those new scale transition chords ? I do not want a gape in my melody line.
I thoroughly enjoy learning from your videos, Sir :) Could you also tell us to what other keys we could modulate to? Are there any limitations on the same? :) Cheers from India :)
your chanel's name is wrong in my opinion. these could be "SUPERMAN PLATINUM PROJECT" your every single tutorial is fantastic,more than helpful.thank you so much sharing your knowledge. love from INDIA.
Hi. If I want from Am to C#m, what should I do? 2nd degree of c#m is d# and fifth degree is g#. It means that I shoud play d#, g#, c# for changing in this minor scale?
As always, thank you very much for sharing your knowledge, you really are an exceptional person. If you get chance I would like to show us some examples to move from larger scales to smaller and viseversa. Again, thank you very much. Ah!! ... my English is also thanks to Google Translator jajaa
MangoldProject Ahhh !!! jajajajajaa, So is my fault for not checking as I remain the translated phrase. .. I meant go from Minor to Major Scales and from Major to Minor Scales
Great video. Would you mind posting the exact chord voicings you're using on the 2 and 5 chords in this example? Doesn't sound like straight Fm9/Dm9 on the 2s or straight G on that last 5.
Question: how do you chose when to do the 2 of the next key? In the first example you did the Fm after the Am and its sounds good But if i throw the second minor of the next key (fm) after another chord of the previous key it doesnt sound right
I don't want to sound overly critical but basically what i got from this video is that to modulate from C major to its parallel minor, you have to especially use as a transition the cadence(from Eb ionian)ii - V of the parallel minor? Can it be used to modulate to other keys other than the one in the circle of 4th/5th or parallel major/minor Is there a way to do it from a far away key or into harmonic/melodic minor?
Thank you so much for this video. it's so helpful!! I've got a short question: does 2 5 1 works for minor keys too? If not, which is the way to modulate in a minor key? Thank you a lot! This is the question I'm also wondering?
Hi Mangold! For your first demonstration - with the progression from C to F to G in the key of C ----- I can understand the abrupt transitioning to E-flat major. But for the second demonstration, you have C, then Am, then Dm, then G, then Em, then Am, followed by the 2-5-1 (in the key of E-flat major). In your first demonstration, you applied the 2-5-1 right after the 'G' chord. While - for the second demonstration - you applied the 2-5-1 right after the Am chord. Does this mean that when we are in the key of C, then we can apply the 2-5-1 (ie. Fm, B-flat major, E-flat major) right after ANY chord (from the key of C, while in the key of C)? Maybe if the 2-5-1 transition demo is just based on the initial demonstration (ie. the C to F to G one), then things probably would become clear. Thanks Mangold!
@@athmajks6768 I eventually found that the 2-5-1 only works, or works well when we're within a certain distance or range of the target --- such as relating to 'circle of fifths' distances. When the target is too far away, then 2-5-1 doesn't work well. That's for abrupt jumps. So the technique is to gradually work towards the target but doing smaller jumps in that direction, until eventually reach the target. Strategic jumps.
On UA-cam I have found quite a few Tutorials for modulating, like changing smoothly from a key half a step up, etc. and this is one of them - However, none of the instructors explain how this would apply to minor scales, as I play a lot more in minor than in major. Any tips?
Could you explain how you could change keys from starting out on a minor scale? or does this only work when only starting on a major scale? I'm a little confused because lets say I wanted to start a song in A minor would the A now be the Tonic center instead of the C?
@@MangoldProject Thanks for answering! Do you usually use the standard chords of the natural minor scale or the minor harmonic scale? Don`t you think those diminished (3m75b) sound too dissonant at all?
You mean the last one? That could really be anything! There's no structure or song or verse or chorus, so it's difficult to come up with a bridge before you even see the chasm.
What happens if the target key you’re modulating has a ii chord that is diminished? I noticed in Yesterday by the Beatles, McCartney goes from F to D minor but uses as an E minor and A7 for the 2 and 5. But the 2 chord in D minor is E diminished?
One of the best intros to modulating key changes on UA-cam. If you’re learning jazz, this is where you start.
Excellent! I absolutely love music theory. I write/record my own music...and when I first started 10 years ago, I thought, "I don't need music theory...I'll just play from my heart. I don't need those stuffy old rules. Music isn't about rules."
How wrong I was.... I soon realized how limited I was not knowing the theory. So...I invested thousands of hours of study into every aspect of music theory. Once my head was full to the brim, I could finally "forget" all the rules and simply play from my heart. But this time, those rules were deep within me...and came out without me trying.
The best composers are great because of HOW they break the rules. If you just break the rules as you wish...it'll sound chaotic and lame. But, if you break rules in creative interesting ways, it adds massive dimension to your music.
Modulation is something I haven't studied much....but I'm trying to dig into it now. This video sure helps.
For anyone who wishes to hear an amazing example of modulation in a pop song....listen to The Beatles' "Penny Lane." McCartney used TONS of modulation in that song....something like 7 or 8 key changes in the entire song. Yet, it's so tastefully and deftly done that the result still sounds smooth and harmonious. That song is a perfect case study for how modulation can add depth to a song.
I'll going to check the song of the beatles now
@Mr Gimble This is a very late response, but I'll try to answer in case you or anyone else reading has this curiosity.
As for the A minor part: think about what the 2-5-1 progression really is, and it's really just moving down in fifths.
Let's look at the classic 2-5-1 in C: Dm - G - C
D moves down a fifth to G, and G moves down a 5th to C.
It makes sense to bring an Am in there, because you're essentially just extending the cadence of the 2-5-1 by adding another note a fifth above the 2: the 6!
A moves down a fifth to D, D moves down a fifth to G, and G moves down a fifth to C!
Not only that, but the transition to C major to A minor is very smooth, because A is the "relative minor" of C major.
Therefore, Am - Dm - G - C is just an extension of the 2-5-1 cadence, done by adding another chord (the "6") a 5th above the D (the "2").
As for the e minor before the modulation, this is only a guess of mine: that movement up to the e minor sort of establishes the upward movement the harmony will make when he modulates, but keeps it in key the first time around so it sounds smoother when he modulates?... that's entirely just a guess though. I guess a simpler answer is, it just sounds nice :)
I hope this wasn't confusing! lol
You cannot bend the rules when you don't know them..... so to break them, you need theory first, otherwise you're just experimenting with trial and error (Which is very VERY cool also!, but it takes so much more time). This is what I've found out through the years because I also was adamant on not putting boundaries to "my creativity" with rules . . . . . it doesn't, au contraire mon ami, your mind just get more connections to choose from. . . .
This teacher here in this video. I owe him big-time ..... not just for the golden teachings in this video, but every other one of his videos. He REALLY knows music - and probably is prodigy material as well. It's an honour to see these videos.
2:56 is divine to listen and amazing to learn and play...! I have been learning music for past 10 years now and I have started learning music theory more deeper than ever. It is really amazing to unfold many such theory in music that actually add more depth to your music. Another great video from Mangold project. Thank you so much!
I love how it sounds and how it transposed in another key. The thing is all the outcome is very different but relaxing.
You are one of the best music teacher ever. You have no idea how your previous tutorials have helped me. Thanks a lot for sharing.
AMAZING, watching this from Mexico in 2020, thank you!
Sorry for the crackles here and there, guys! I didn't calibrate the input levels on my sound card correctly so you'll here a few minor pops here and there.
Thanks so so much.
Absolutely excellent, you make me understand theory perfectly in every tutorial.
I have fought how to change keys in my playing over years,yet i have not overcome.
What is shocking is that, i play all the 2 5 1 progressions in all twelve keys,but never knew i could change keys through this means.
You have helped me greatly improve my piano playing and here you are today again making another mark in my piano life.
Thanks so much sir.
Excellent video as always. You teach musical concepts that others try make out to be very difficult, which aren't when broken down. thanks again.
Btw, your new cat is adorable.
Haha, thanks! :)
Wow! I’ve always struggled with changing keys smoothly! This is genius!! You are awesome 😎
This is the most helpful video I've watched on the subject so far, thanks man!
Thank you so much .for sharing your musical experience. I have learned so much from your videos. I am just a 81 yr. old hobbyist with a passion for musical expression. Richard
+Richard Mahan Hi Richard. Keep up the good work :)
Sir you are my first teacher of 🎹. U are very professional in music but decribing it in simple simple way.. thanks
Hi poposki,
Thanks for the kind words, I really appreciate it! I'm going to try and keep a more continuous presence here on UA-cam in the future with new videos coming out every week or so.
Your videos are from really good quality! They are really helpful, you should keep doing videos like this.. God bless you
Gabriela Martínez Thank you Gabriela.
Thank you for this lesson, this is exactly what I was looking for.
Total Respect! Thanks for teaching this technique. It's useful for both playing and songwriting. Thanks again
OMG thank you so much! I've been looking everywhere for someone to explain this 🙏🏻
So you're back!! Great!!
Your way of teaching is amazing..
Not bad ,,,,kinda cheeky but it works ,very progressive but nifty ,and well done nonetheless, bravo man,i should point out that you can get back to C M from Eb M quickly by doing a backdoor 5/1 via Fm ,Bb 7, C M ,but doesn't matter ur demo is impressive 👍
Good stuff as always, back in my composition days I used to like to throw in a dom7 on one of the existing chords and use that to pivot; say on the last beat of that chord. Thanks for these videos !
You're welcome Mark.
Yes, I just tried it. It worked very well. Thank you very much. Very well explained. I look forward to more great tips.
I MUST SAY YOU ARE A GREAT TEACHER NO DOUBT ABOUT THAT I WILL LEARN PIANO AND KNOW HOW TO PLAY PIANO.
I understand it so much better now. Thank you!!
Your videos have helped me a lot, I am a student of classical music but I belong to a group at my church and your teachings have helped me a lot, thank you for sharing your knowledge, use the Google Translate My English is bad, every time I hope your video forward to learn much more, thanks ...
You're welcome Jhon. Don't worry about your English it's pretty understandable :).
wow this is what i need.. i am so happy that i found this short lesson.. thank you very much...
You're welcome Furkan :).
Great video. Would you mind posting the exact chord voicings you're using on the 2 and 5 chords?
I have no idea wtf he's talking about but what he's playing sounds really nice
Why, thank you.
better show the text
Really well explained!!! very good way to teaching!!! Bravo!!
Just subscribed! I've always been clumsy with transitioning between keys so this is really helpful :)
Modulations are one of the best ways of getting a sophisticated sound.
Thanks for the explanation. I wasn't trying to do anything in particular. I was just experimenting with what I saw in your video. The way you do many modulations near the end of the video starting at the 5:18 minute mark was excellent. Are there any more of your videos that show something along those lines.
Thanks. I don't have any other videos on modulating between keys per se, but the following contains 2-5-1s and key modulations, so you could say it's somewhat related: Jazz Piano Harmony: Chord Voicings, the 2-5-1 Progression and The Power of Transposing. Another related video, which talks more about the concept of chord substitutions (which is really what you're doing when you substitute Fm-Bb-Eb for Eb!), is Chord Substitutions: A Tutorial. Hope that helps somewhat.
MangoldProject
I will be looking at those too. My goal is to be able to take a simple melody like Happy Birthday or Amazing Grace and have it sound like it was professionally arranged. In other words I'd like to be able to beef up simple melodies and play them in different ways. I'm not a novice in my playing but lack a lot in the harmony department.
Great video for clarity for the beginner :)
Minute . 2:57 Hola , una pregunta usas acordes con 7 menor para la mayoría de las progresiones , aunque en la anotacion no la pones. Estoy en lo correcto?? gracias por todo tu conocimiento.
Fantastic lesson.
Thanks for the info I've been practising a song and didn't realize I was doing that all the time.
God bless you, brother
This is so amazing!!! Love it, thanks!
Thank you! I was floundering with figuring out how to do this.
Thank you so much for this video. it's so helpful!! I've got a short question: does 2 5 1 works for minor keys too? If not, which is the way to modulate in a minor key? Thank you a lot!
it will work but the two chord will be diminished and the five will be minor (major in harmonic minor)
a minor 2 5 1 in A would be Bm7b5 - E7 - Am.
The five is turned into a dominant chord in minor because otherwise there wouldnt be a strong tension to resolve to the tonic chord (like in the major 251). this implies the Harmonic Minor Scale however, which is Minor with a sharpened seventh degree. the Dominant chord on Five is a 7b9 chord, which is of a different nature than the one in a major 251.
The answer is yes
The video was very helpful, you were very clear. Thanks a lot.
Amazing trick! Thanks for sharing
Awesome video. Thank you! The modulations are smooth as well.
It sounds great when you change up the voicing and make it a 9, a Sus, or a 7 but how do you decide which gets what flavor and when? I don't seem to see a pattern to it. Is it just that you develop a sense as you practice or...?
+MrRickyWow Hi. This is a sense you develop. You must first practice these different voicings and variations until you internalize them; once you do that, you'd be playing a piece and then thinking "hey, that sound I played a while back might fit in here ... " and you experiment. Many variations will not fit, but being able to play them quickly and test them out really helps out a lot.
@@MangoldProject There must be reasoning behind which voicings fit in certain contexts more than others...
NickB33 if there is its probably much too complex for anyone to memorize
@Mr Gimble The 2 5 1 refers to the new key, not the original key. In this case he is starting off with a basic chord progression in the key of C Major and then playing the 2, 5 and 1 chords of the key of Eb major to modulate to that new key :)
Nicely done
That's so cool! And really musical
Fantastic, thank you. So it's 2 5 1 of the key to be transitioned to (from any other key?). Why from C Dm G do you refer to D as minor? Simply because in C key signature, a Dorian mode has no sharps nor flats? The G will only be sorta G major (with a natural at the top)?
Thanks for the great instructions 🌷 God bless you.
+Elaine Gil My pleasure & bless you too.
Sounds very good! I wonder if it works like that on a simple triads chords! Because you used tetra chords! Thx
A great technique. Thanks for the lesson!
Glad you enjoyed it!
Very good video, It's interesting how you choose the chords to introduce change, for example, c-am-dm-g-c-em-am-*fm-Bb-Eb....
Fantastic and very easy to follow love you xx
This video helped me a lot! THX!
+Dirty Junk Happy to help out :)
Great lesson!! Thanx!
Thanks for the video! This is very inspiring and interesting!
Great tutorial. Very helpful!
First of all, you're a great teacher and I love your tutorials. However in this one, instead of using chord substitutions in your chords, I believe it would be easier to follow if you just used basic triads to get your point across. As a beginner, I found that trying to follow you chord progressions thru inversions was very pleasing to hear, but confusing to a beginner like myself. I had to rewind the tape several times to grasp the concept.
Thanks for all your time spent teaching theory, it's greatly appreciated, as you can see by your following.
Thanks for the feedback, JP. Would you perhaps agree that I should keep the complexity in there, but explain it more thoroughly? It seems the more advanced voicings piqued your interest which is a good thing. By the way, it's also a good thing that you worked hard to understand the progression. We tend to remember most the things we work hardest for.
Interesting concept. Well taught! I was wondering whether we could modulate to any possible key from any possible key. If not, it would be great if someone could explain. Thank you.😊
a 2 5 1 will work for major and minor keys. idk abt different modes but there's always a way to get to a new key
How to learn all the theory transition "tricks" for songwriting? You're great!
Well my answer would be "watch all my videos" ;)
MangoldProject Well thats kinda answer :) . Just wondering why sus2 chords are more common than sus4, as you told in one of your vids. Makes kinda less sense to me, because of the "masking" the tonic more than a sus4 chord. Correct me if I'm wrong :)
Thanks for your vids!
Beautiful! Learned a lot! Thank you so much!
Thanks Abhishek!
great lesson thanks a lot, I have 2 questions,
- if I was in key of Am which is the relative minor for Cmaj, would the 2 5 1 still be (Dm-G-C) or it changes to (Bdim-Emin-Amin).
- is there another way to mdulate because moving from Am to Fm doesn't sound smooth to me,
thanks again for this video
1. Bdim-Em-Am (although, depending on the variant of the minor scale, it might be Bdim-E-Am, or B-E-Am, or some other slight variation).
2. Going into Fm you'd might use Am-G-C7-Fm. It's all in the voicing ... you need to try different voicings.
+MangoldProject jvjk
This is awesome thanks so much for clearing this up
I started one of your videos & wrote down Ab GBbCEbG then my computer either acted up or I hit a button & lost that video. If you know which video started that way, please let me know. I love your videos. Thank you so much.
Amazing. Thank you for the lesson!
You're welcome Justin.
thanks for sharing this video... it is nice tutorial im looking for
You should do more videos for composers! Thanks
Interesting thank you, what does one do to go into a minor then back to major, I am dying to know. Thank you for sharing this.
2-5-1s work for minor keys as well (just one of many possibilities).
Excellent video as always Mangold, do you have any songwriting secrets of modulating between minor keys? Could be natural, harmonic or melodic minors? Thank you very much! Best Regards
Very helpful tutorial. Thanks man! :)
As usual you have been fantastic in exploring music in the most simpler way. Thanks.
Can you help in deciding on what notes should I play as a melody on those new scale transition chords ? I do not want a gape in my melody line.
The moment you hit the 2 in the 2-5-1 of the new scale, switch to the new scale.
MangoldProject Thanks
Thanks! It helped me a lot!
Wow! Thanks for this man
I thoroughly enjoy learning from your videos, Sir :) Could you also tell us to what other keys we could modulate to? Are there any limitations on the same? :) Cheers from India :)
You can modulate to ANY key with the 2-5-1.
Thank you Sir, for clarifying :) And keep up the noble work :)
your chanel's name is wrong in my opinion. these could be "SUPERMAN PLATINUM PROJECT"
your every single tutorial is fantastic,more than helpful.thank you so much sharing your knowledge. love from INDIA.
Thanks man! Glad you found the tutorials helpful.
Yes, Every Tutorial is more than helpful , thanks for sharing, best regards from Germany
Splendid video.
Good Job! But those extensions make ALL the difference... U should do more vídeos showing them in context. Tx a Lot!
Excellent ! Thank you.
+Nasher188 You're welcome!
Great video, thank you
Nothing more driving than a key change modulation.
Hi. If I want from Am to C#m, what should I do?
2nd degree of c#m is d# and fifth degree is g#.
It means that I shoud play d#, g#, c# for changing in this minor scale?
thank you so much, this is helps a lot.
Hellow. These videos are really helping me. But please help me, I am very new in learning piano. Hw do I go back to the very first videos ?
Brilliant 😊🙏
As always, thank you very much for sharing your knowledge, you really are an exceptional person. If you get chance I would like to show us some examples to move from larger scales to smaller and viseversa. Again, thank you very much. Ah!! ... my English is also thanks to Google Translator jajaa
Hi Guillermo. Thank you for the kind words. By "large" and "small" scales do you mean major and minor?
MangoldProject Ahhh !!! jajajajajaa, So is my fault for not checking as I remain the translated phrase. .. I meant go from Minor to Major Scales and from Major to Minor Scales
Great video. Would you mind posting the exact chord voicings you're using on the 2 and 5 chords in this example?
Doesn't sound like straight Fm9/Dm9 on the 2s or straight G on that last 5.
Question: how do you chose when to do the 2 of the next key?
In the first example you did the Fm after the Am and its sounds good
But if i throw the second minor of the next key (fm) after another chord of the previous key it doesnt sound right
wow, thats awesome!! Thanks
4:53 - what's the specific name of the chord if there's C and G on top?
I don't want to sound overly critical but basically what i got from this video is that to modulate from C major to its parallel minor, you have to especially use as a transition the cadence(from Eb ionian)ii - V of the parallel minor?
Can it be used to modulate to other keys other than the one in the circle of 4th/5th or parallel major/minor
Is there a way to do it from a far away key or into harmonic/melodic minor?
The 2-5-1 also works well as a modulation pivot for far away keys.
Thank you so much for this video. it's so helpful!! I've got a short question: does 2 5 1 works for minor keys too? If not, which is the way to modulate in a minor key? Thank you a lot! This is the question I'm also wondering?
Yes:
ua-cam.com/video/7ONIzO3l-fw/v-deo.html
yes thanks to you sir for answering on such a short notice, you are a gentleman and a scholar!
i like your piano style
+CruelLion7 Thanks!
Hi Mangold! For your first demonstration - with the progression from C to F to G in the key of C ----- I can understand the abrupt transitioning to E-flat major. But for the second demonstration, you have C, then Am, then Dm, then G, then Em, then Am, followed by the 2-5-1 (in the key of E-flat major). In your first demonstration, you applied the 2-5-1 right after the 'G' chord. While - for the second demonstration - you applied the 2-5-1 right after the Am chord. Does this mean that when we are in the key of C, then we can apply the 2-5-1 (ie. Fm, B-flat major, E-flat major) right after ANY chord (from the key of C, while in the key of C)? Maybe if the 2-5-1 transition demo is just based on the initial demonstration (ie. the C to F to G one), then things probably would become clear. Thanks Mangold!
Yes
@@athmajks6768 I eventually found that the 2-5-1 only works, or works well when we're within a certain distance or range of the target --- such as relating to 'circle of fifths' distances. When the target is too far away, then 2-5-1 doesn't work well. That's for abrupt jumps. So the technique is to gradually work towards the target but doing smaller jumps in that direction, until eventually reach the target. Strategic jumps.
Amazing Loved it
Thanks!
On UA-cam I have found quite a few Tutorials for modulating, like changing smoothly from a key half a step up, etc. and this is one of them - However, none of the instructors explain how this would apply to minor scales, as I play a lot more in minor than in major. Any tips?
Could you explain how you could change keys from starting out on a minor scale? or does this only work when only starting on a major scale? I'm a little confused because lets say I wanted to start a song in A minor would the A now be the Tonic center instead of the C?
Yeah. If you're starting in A minor, A would be the tonic.
Thanks, this is so helpful! I'm writing a GCSE jazz piece and want to change from the key of Eb major - which keys could I go into?
+itsonlyemily Pretty much any key as this tutorial shows. Just precede it with a 2-5-1. For example, modulating from Eb to F: Eb Gm7 C7 F
+MangoldProject Thanks so much!
Hello, how are you doing mate? Thanks for sharing, I was wondering how is this relation on minor keys, does it work as well? Thanks
Yes it does!
@@MangoldProject Thanks for answering! Do you usually use the standard chords of the natural minor scale or the minor harmonic scale? Don`t you think those diminished (3m75b) sound too dissonant at all?
Excellent!
When you go back to C major, why do you play D minor instead of D major?
What would be a good "bridge" for this progression?
You mean the last one? That could really be anything! There's no structure or song or verse or chorus, so it's difficult to come up with a bridge before you even see the chasm.
What happens if the target key you’re modulating has a ii chord that is diminished? I noticed in Yesterday by the Beatles, McCartney goes from F to D minor but uses as an E minor and A7 for the 2 and 5. But the 2 chord in D minor is E diminished?