Why These MODULATIONS Sound So SATISFYING? [Chord Sequence Modulations]
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- Опубліковано 19 лют 2023
- Do you want to use key changes in your music without sounding like every cheesy pop song from the '80s? Keep watching to learn a new trick to writing better modulations!
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![Changing KEY With Diminished Chords Made Easy [Music Theory]](http://i.ytimg.com/vi/-yY-EFU2ik4/mqdefault.jpg)
Duuude you have all the spicy content I've been looking for!!!
Thanks thanks thanks, grazzie Tomassio, this is just gold. I've been since 9 AM putting this into practice with the songs I have for my band, and oh! Is like magic, everything sounds a thousand times better. The feeling of getting to the new key in such a elegant and engaging way... seeing it and hearing coming out of my own guitar; I feel very happy. Deep from my heart I thank you again for putting out this lesson and for helping a lot of guitar players all around the world. You are a Hero, your videos are delightful to see. Greetings from Germany :)
I think I discovered a chord sequence like that a while ago: Start from a major chord in closed root position (as you did), then raise each note one step starting with the highest, playing a chord with each note change. Example: CEG, CEA, CFA, DFA, DFB, DGB, EGB, etc...
When I was playing with it, I stopped when getting to a C major chord the second time (GCE). But now I can see a lot more stopping points...
5:56 I think there is a small mistake in the tab here.
That's written as a Gm9, Not a GM.
Great lesson as always. Thank you! 😊
Ooops :) You're right!
So much yummy pasta arrabiata in these examples!
Not to get technical, but technically speaking (🤪), I actually heard that F#dim as a D7 secondary dominant in the original key of C, which suggests a push back to G∆7, which is... well, you get it.
Great video Tommaso, will check it out on my guitar this evening. Thank you
Your videos are really engaging, good stuff!
Pure magic
This is Priceless! Thank you Tom.
My pleasure!
Good explanation, Mario.
Excellent video!!!
Thanks!
Molto impressionante. Sei un grande!
The melodic minor is rich in pathos.
Would be nice to share a link to the Baroque manual?
Oh damn, how SATISFYING it sounds. Unbelievable
The "all caps" really sells it, doesn't it? :-)
Hey Tommaso, how would you describe notes in a chromatic scale? For instance frets: B: 3 4 5. Is that D D# E or D Eb E? Does it even matter? Considering without the chromatics you're not supposed to use any letter twice.
Grandiose !
Thanks!
I’m really liking all the videos you’ve been doing on modulation for the last little while. I have a general question about modulation: melodically speaking, what do I do over top of a modulation? What are my options?
For example, I am modulating to the dominant… let’s use C to G to keep it simple. 6 of the 7 notes are the same… I could intentionally avoid the F for a couple bars, and then when I get to my D7 chord, voilà an F#…. Or I could intentionally try to build a melodic line underlining the modulation: E-F-F#-G… I could also introduce the F# “early”, before I get to my D7…. Am is in both keys, and F# can easily be played over an Am, as a passing note or a melody note.
Are there common approaches to building a melody over a modulation?
Several. But that would require another video. Or a couple hundred videos... ;-)
@@MusicTheoryForGuitar well… if you ever run out of ideas, I just gave you a couple hundred. ;-)
wow
Question: When considering which notes change from one key to the other, should one consider EVERY minor key as an harmonic minor scale? (as shown in 10:00) Or is there a specific rule to use one minor scale or the other?
Thanks.
Great video.
In classical harmony, yes, you would consider the alterations of the harmonic minor. Of course, in modern music you can do anything, as long as you like the final result. Great question!
Great method. I notice you used it only on chord placed near in the wheel of fifth. One alteration change only.
I was thinking about modulating from C to Db, for example. This would take a very LOOONG sequence.. Or I'm wrong?
That's an intro video on the technique, so I restricted myself to simple examples ;-) But the technique works for any modulation, and the sequence is not long (5-7 chords to get from C to Db).
Also, a long sequence is not necessarily bad. If you are improvising (and these Baroque manuals were IMPROVISATION manuals...) a long sequence gives you time to think about your next move, and also a lot of melodic possibilities.
@@MusicTheoryForGuitar thank you. I would LOVE to hear Handel improvising ;)
9:44 I had paused the video here and tried to work out the sequence but couldn't get it to work. I had wondered whether the harmonic minor was the solution.
10:33 Note that the last five chords are Gmaj7 - Em - F#dim7 (half diminished) - D#dim - Em. The sequence couldn't have stopped at the earlier Em, because we haven't introduced the D# yet. If you do that and go to the Em at the first escape point, it sounds incomplete, though. (Probably because we haven't heard F# enough to be convinced that that's part of the new key.)
12:09 Nearly real time? So someone could say: "Modulate from G# major to D minor" and you could work out the chords right then, within (let's say) 15 seconds?
Yes, yes, and yes , but consider that G# major is a trick question (G# major "does not exist" as it would have 7 sharps. Modulating form Ab major to Dm is straightforward with a sequence)
the funny thing about chord sequences in triads... speaking as a relative ignoramus... is that you can play single notes that mimic the sequence... and that is the essence of a tune/song
Bowie's Life on Mars
This technique is fascinating. Is there a way to extend it to 4 notes chords instead of triads? Being a pianist and arranger for jazz combo I need a bass note for each chord and I have only two notes remaining.
Clearly I could name each chord and expand it, but I wonder if you could expand to four notes chords this mind blowing method. Thanks! Paolo
Try using a circle of 5th progression (i.e. the roots go down a 5th) with 7th chords. That would work great in jazz - and it's very similar to what I'm doing here.
This is the first time I've watched a video on this channel and felt lost. I understand how changing the notes changes the key, and what you're doing with "exit points". But even after watching this twice and looking it up, I don't have any idea what a chord sequence actually is. I'm seeing that it's more than just a chord progression, but I strongly sense there's more rules to it that I don't know about. What's the definition of a "chord sequence" and how does it differ from "chord progression"?
I will have to do a video about it then! :)
Modulating from C to Eb : when, during the sequence, I change a note to the target diatonic scale (eg B to Bb)
in the next chord should I lower the Bb to A or to Ab (the target diatonic scale)?
It is not clear to me if the changes to the target scale are temporary or should be maintained from the moment you changed it.
I found this: CEG-CEA-BDA-BDG-ADG-ACF-AbBbF-->GBbEb but in fact all the sequence is diatonic to C and only in the last chord, respecting all the rules, I land on a Bb7 that brings me to the Eb.
It's nice, but it sounds a little bit scolastico: I play the sequence in C and at the last chord I put the V7 of the new tonality and modulate. Could you give me a longest and more subtle example of modulation from C to Eb, so that I can infer better how the algorithm can be used?
Changes to target scale are permanent: don't revert them.
In your case, if two consecutive chords have the A note, then the first one can have A and the second Ab. Same for B/Bb and E/Eb.
So you could start CEG-CEA-BDA-BbDG etc etc
Or CEG-CEA-BDAb-BbDG etc etc
Or CEG-CEA-BbDAb-BbDG etc etc
Or even CEG-CEAb-BbDAb-BbDG etc etc
@@MusicTheoryForGuitar Thank you
🎉
Immediately sounded like Every Single Thing by Homeshake
Yup, it's a similar sequence.
This is GREAT stuff... I still think it wouldn't hurt, though, to provide notated versions of what you're doing. There are NO disadvantages to learning how to notate musically. Categorically NONE.
So basically, it's just Voice Leading technique, right ?
Basically no.
Unfortunately, to be a composer one must play at least one instrument fluently not just because it takes a lot of time if that's not the case but playing something slowly (while searching the notes) does not help discover the melody effects of the same notes that they would have when played at an arbitrary speed.
Such a shame. :(