Since there’s some confusion: When I say G-major 7 I mean G7 / Dominant 7, not G-major with a major 7 (Gmaj7). All 7-chords in this video are dominant 7 chords, there’s not a single major 7. The reason I tried to avoid Dominant7 and other functional terms is because ppl without a theory background don’t know what that is. So the major is simply referring to the chord, not the 7. Additionally, in Germany (where I first learned about harmony), we don't use the same word for the chord and the intervals. Chords are classified as Dur and Moll whereas intervals are classified with major and minor. Old habits and all...
There is no other youtuber as clear! Super professional, though easy to understand! So much know how presented this nicely is not what we are used to find! Fantastic!
You look equally competent with or without the make-up. Just know that it really doesn't matter. It's your charisma, insights and communication skills that makes you so good at this UA-cam thing. I live in Austria but I've never heard of Hollywood Worksop, so thank you for the tip-top tip! Edit: DamnitI I looked into that workshop. Really interesting and even pretty reasonably priced, but I don't have the days free to go all the way to Vienna and stay overnight 😢
Thank you as always for this wonderful video. So many UA-camrs overcompensate trying to make their videos "interesting" with all kinds of rapid cuts, FX, loud voices, constant attempts at humor, etc., etc. but I enjoy how calm you are in your videos and the relative simplicity of discussion, example, discussion, example, etc. :)
There is so much pure GOLD here!! The way you lay out all of these methods and explain conversationally about the nuances and reasoning really makes it accessible and understandable. Just purchased the MIDI. 🙂 PS: The alt version of the Minor V where you land on Eb major - what a really cool feeling of "pleasant surprise" whenever the melody starts without the chord even changing. (Felt like the "5" and it's suddenly the "1".) Mind blown!
Golden summary, an incredible, well thought out and planned class on practical modulation theory. I believe your calmed, down to earth, humble style of explaining things with this clarity shows that you're a top notch professional. This is the kind of content the community needs.
Very clear, dense but easily useable, and a wonderfully elegant use of one theme for demonstration. I appreciate your example of thoroughness in setting out each progression possibility for diminished 7ths, too. Thanks very much!
Thanks a lot Anne, there's some really useful information here! I always struggled to get my head around the German 5-6 (I learned it as the 'augmented sixth'). I like your way of just remembering it has the same tritone as a regular Dom 7 chord. Much easier to remember! A lot of these modulations sounded lovely as well. Thanks!
Hi Anne! This is simply fantastic. True, there is a lot of resources about modulation but you make it so clear and understandable. Many thanks again. Keep going. A big hug from Italy
Yes............missed you Dern. This was, as usual, a great lesson with lots of useful info. I always learn so much from ypour posts. Cannot thank you enough. Wish you blessings. 🙏🏾🌞
The 5-6 chord is in jazz parlance a tritone substitution for the dominant of the new key. For those that like to think of it that way. In this case I find the classical theoretical explanation for the 5-6 more convoluted than the jazz theoretical explanation for the tritone sub. Just goes to show there are always multiple ways of think about music theory.
Of course there is. And I think it is a good thing that nowadays you can use the simple explanation. Sometimes it can be fun to analyze the function of each chord. In other cases it's just enough to know that it will work when you use it that way.
I just found this channel and it's pretty cool. I have been playing music as a drummer for 53 years. I'm self-taught and never had any formal training. Since 2006, I've been writing music on the computer, first under the name "Correlate of Consciousness" and lately "27 Goats". I have watched different people teaching theory and am slowly picking stuff up.
Thanks again for these videos. I’ve been thinking about modulation a lot recently, so the timing and usefulness of this was perfect! Also, the no makeup look suits you!
"lower one note in a diminished chord and it becomes a dominant chord" I jumped up went to the keyboard and my mind was blown. I have been playing for 30+ years and never saw that. Thanks
Great video Anne. Very thorough. I really love the depth of information you use to cover your topics. Makes the information much easier to digest. Keep up the great work! 👍
Wonderful explanations Anne-Kathrin 🙂As always. You have great ways to verbally explain those simple tonal shifts (modulations) to students. We - jazz musicians/composers use these techniques all the time on daily basis, but when it comes to explaining in simple words "how we did it" it becomes a chore sometimes... You do it so wonderfully ! I am gonna forward this (and all of your videos for that matter) to all my students. Thanks for a wonderful content !! 😃
Thank you! I keep wondering if the piano roll is more helpful than sheet music but I figured it's something everyone can read (as opposed to sheet music).
A lot of complex information packed in a very simple to understand form. I knew about all these modulation paths but this is the clearest explanation I have heard so far
Really love your content. You are a great teacher, you make sometimes very complicated subjects, like modulation, and how to achieve it, easy to understand. Thats the sign of a great teacher!
Thank you Anne. A Great and simple explanation of modulation. My personal favorite is the secondary dominant, it always feels like a very elegant way to change the key.
The minor trick is very interesting, thank you. The entire video is very inspiring and we'll done. Tomorrow I'll exercise these on diferentes already made piece of ideas I have. Big thanks.
Anne-Kathrin, thank you for great videos! But since you mentioned it yourself, I've could have sworn you hade an extremely well made makeup in this video.
Terrific refresher. Papa Bach himself wrote parallel 5ths on occasion, even in four-part choral pieces. Sometimes, it’s the lesser evil. Everything is trade-offs, and if it sounds good, it is good. Oh. And, yes. We did miss you.
Modulation to a small third form the main key is very effective and let say natural, Wagner use this much in 'Tannhauser' , 'Tristan and Isolde' and 'Parsifal' it's abseloutly fantastic! Yes you're totally right about modulation, very interesting 🙂
There is so much valuable information in your videos and you have a way to explain complicated stuff in a very practical and useful way. That is awesome. I had a hard time remembering and understanding the german 5-6 chord but you just went straight to applying it in a simple way! That is golden! Thanks a million!
Agreed 👆 Also, the way she explains it, isn't the German 5-6 chord the same thing Jazz musicians use all the time and call a "tritone substitution"? Or is there a nuanced difference?
A very comprehensive video with good explanations of some types of modulation. As I'm a very bad piano player and a lacking knowledge of music theory I sometimes struggle with harmony. I subconsciously used one or two of the techniques mentioned in the video and know I can put a lable on it and dig deeper. Thank you.
Great video! I don't know why, but in the last 4 major diminished examples, I had a different intuition for where 2 and 3 would go lol, but the minor examples all clicked exactly as you wrote them.
Hey Anne, I heard your contribution to a Hallmark episode my wife was watching, great job. I even told my that I knew you lol. Keep doing what you’re doing,sounds great.👍
Great info! Maybe it's just my inner jazz musician, but shifting into a new key with ii-V-I has always worked well for me. It works especially well for modulating by thirds. Disney has lots of great examples of this. Gear change! Made me laugh. I think we called it a phrase modulation when I studied, though it was implied that the modulation occurred at the beginning of the new phrase.
21:23 The German 5-6 chord is usually used for dominant double chords that resolve to dominant chords. In this case is a tritone substitution of C# (V of F#) (pretty jazzy)
just watched The Devil Conspiracy. your choir melodies are pure heaven, rarely heard these days. considering the movie I must say Eveline Hall stole the show, I couldn't take my eyes off this incredibly beautiful woman.
I like to use common tones between sections even if they don't modulate. Although my application of these tutorials may be rather different than orchestral works I always get some useful information out of them. Looking forward to the next one 🙂
Regarding Direct Modulation (that's what we called your 'truck driver's shift' in conservatory)... I think your opening remark defining modulation as 'changing the key' sort of settles the debate about modulation. I think the debate isn't about what modulation is, but rather about what 'smooth' modulation is. Some direct modulations are inherently smooth, like you said regarding related tones, etc. and some direct modulations are not smooth at all. But I don't think modulation really needs to have any perquisites to be modulation. Direct modulation is certainly efficient, and I have used it on occasion to just get somewhere new... right now. It's not like the music stops and then starts again. The key is truly being changed within the context of a singular musical moment. I think your opening definition nails it pretty well. I've been loving your videos! You have a lot of no-nonsense content on here and your writing is very polished.
Hallo Anne-Kathrin, tolles Video über die Modulation! Am besten haben mir schon immer Zwischendominanten und verminderte Akkorde gefallen! Eine Frage: Hast du ein Video über dein Setup? Ich würde gerne wissen, welches Keyboard und welche Sachen du benutzt, z.B. zur Kontrolle von Expression oder Velocitiy etc. Vielen Dank im Voraus! LG Andi
Love this video, so much information and so easy to understand! I love how each technique has a different flavour - e.g. a good common tone modulation is barely noticeable to the casual listener (good for padding out unobtrusively) whereas circle of fifths or minor V are more obvious changes with a nice tension-release moment. Then o7 and 5-6 are great for period drama as with proper voicing they just scream C18/19th Europe. Or to crank the tension in an action scene just truck-driver up a minor 3rd because subtlety is for suckers! 😂
The German 5-6 chord is basically tritone substitution (take a V7-I, then move the V7 a tritone up/down), which people are probably more familiar with. Also, you can alter the dom7 further (#5 / b9) and it will still work. But with nice voice leading you can make anything work. Plus indeed, it's the 21st century so who cares :). Unrelated but: as far as I'm concerned, no make-up is much preferred, you can save time, money, and the planet! (plastic packaging...)
Fantastic stuff. Just new to this world and you are immensely helpful. Learning a lot from you. THANK YOU. I bought you a few coffees!! Cheers and all the best.
This is great! I'm sure I'll be coming back to it. All the textbooks I know either give completely lifeless artificial examples of modulation concepts or fancy ones from famous composers which I can neither reproduce on the piano or locate in a recording without getting distracted. You found a very good middle ground.
yeah... You're absolutely right. I remember from my own childhood, how the vast majority ot the harmony textbooks were so useless and mundane ! Lifeless and boring. Ughhh... Anne-Kathrin has a gift to verbally quickly explain simple things, without being overly intellectual, boring, or beating around the bush etc. Straight to the point - practical. Something that any student can instantly apply.
@@KrystofDreamJourney I wouldn't necessarily call harmony textbooks useless. My main gripe is the philosophy in classical music that you should master your instrument before you even begin to think about what you're playing. I'm obviously overexaggerating a bit. I'm not a virtuoso on any instrument, I simply cannot just pull off a 12 bar piano reduction of Haydn symphony that I'm unfamiliar with _and_ pay close attention to the sound of specific composition techniques. Playing something myself does not necessarily help me grasp theoretical concepts. Playing is mostly muscle memory for me. Conversely, understanding how a composition works - meaning that I can recognize techniques in the sheet music _and_ associate a sound with them - immensely helps me learn to play a piece. In my opinion, the theory/practice balance is way off in classical music education - at least in Germany.
@@streck0486 The textbooks by themselves are sometimes hard to read AND understand without aural effect of actually hearing the given example. Not everybody has inner hearing already developed while studying the instrument. But you’re right - in a lot of Central European music schools emphasis has been (and still is to a certain degree) on mastering the instrument itself, with theory being secondary. Playing “by ear” without any sheet music should be taught along with studying Classical music literature... Some progressive schools are doing it, some not. I guess it’s up to the teachers and curriculum.
Thank you very much! It's a pleasure to follow your clear explanations! Could you please dedicate another video to modulation? This is the topic I am most interested in. And your approaches are very practical and suited to my creative process! Perhaps, could you also do a video on the different types of dominant and subdominant chords and their effects and uses? Or how to master the harmonic flow of fancy polychords? That's still a mystery to me... 🙏 I wish you a wonderful time in Austria! I'm from there, but I'm nowhere near advanced enough to take part in a Hollywood Music Workshop.😊
Since there’s some confusion: When I say G-major 7 I mean G7 / Dominant 7, not G-major with a major 7 (Gmaj7). All 7-chords in this video are dominant 7 chords, there’s not a single major 7. The reason I tried to avoid Dominant7 and other functional terms is because ppl without a theory background don’t know what that is. So the major is simply referring to the chord, not the 7. Additionally, in Germany (where I first learned about harmony), we don't use the same word for the chord and the intervals. Chords are classified as Dur and Moll whereas intervals are classified with major and minor. Old habits and all...
Pin this comment so everybody can see it on top. Otherwise, you are going to get asked the same thing 1 trillion times 😆
@@AtlasBenighted Ah thank you! I thought I had pinned it but apparently not. 😅
It is very confusing without explanation
It's good for you that you pinned this comment but I understood it right in the video. Which is very well done and useful, thank you.
As a hobbyist suffering from chronic key entrapment, you just gave me several 'get out of jail free' cards 😂 Love the new look also.
Discovering this channel has been a joy.
There is no other youtuber as clear! Super professional, though easy to understand! So much know how presented this nicely is not what we are used to find! Fantastic!
This has officially became my favorite UA-cam channel!!! Passing on knowledge in such an easy and natural way is truly a gift! 🙏❤️
You look equally competent with or without the make-up. Just know that it really doesn't matter. It's your charisma, insights and communication skills that makes you so good at this UA-cam thing.
I live in Austria but I've never heard of Hollywood Worksop, so thank you for the tip-top tip!
Edit:
DamnitI I looked into that workshop. Really interesting and even pretty reasonably priced, but I don't have the days free to go all the way to Vienna and stay overnight 😢
Thank you as always for this wonderful video.
So many UA-camrs overcompensate trying to make their videos "interesting" with all kinds of rapid cuts, FX, loud voices, constant attempts at humor, etc., etc. but I enjoy how calm you are in your videos and the relative simplicity of discussion, example, discussion, example, etc. :)
I can't express how grateful I am.
Thank you for sharing these gems, I respect your work and efforts and wish you the best in your journey
There is so much pure GOLD here!!
The way you lay out all of these methods and explain conversationally about the nuances and reasoning really makes it accessible and understandable. Just purchased the MIDI. 🙂
PS: The alt version of the Minor V where you land on Eb major - what a really cool feeling of "pleasant surprise" whenever the melody starts without the chord even changing. (Felt like the "5" and it's suddenly the "1".) Mind blown!
Only halfway through and totally energized. Fascinating; super useful; beautifully explained and demonstrated. Thank you. 🙏
Glad this is helpful!
Very nice and clear, thank you Anne-Kathrin!
Golden summary, an incredible, well thought out and planned class on practical modulation theory. I believe your calmed, down to earth, humble style of explaining things with this clarity shows that you're a top notch professional. This is the kind of content the community needs.
Very clear, dense but easily useable, and a wonderfully elegant use of one theme for demonstration. I appreciate your example of thoroughness in setting out each progression possibility for diminished 7ths, too. Thanks very much!
One helpful way I came across for interpreting dim 7ths is to think of all 4 chord tones as potential leading tones for the next harmony.
Thanks a lot Anne, there's some really useful information here! I always struggled to get my head around the German 5-6 (I learned it as the 'augmented sixth'). I like your way of just remembering it has the same tritone as a regular Dom 7 chord. Much easier to remember! A lot of these modulations sounded lovely as well. Thanks!
Yes you were missed very much...🙂Thank you for this
Hi Anne! This is simply fantastic. True, there is a lot of resources about modulation but you make it so clear and understandable. Many thanks again. Keep going. A big hug from Italy
Yes............missed you Dern. This was, as usual, a great lesson with lots of useful info. I always learn so much from ypour posts. Cannot thank you enough. Wish you blessings. 🙏🏾🌞
Thank you so much, Anne. Very inspirational!
Welcome back! Enjoyed the post and looking forward to the counterpoint video you mentioned.
Fantastic video. Modulation always has been fly-by-night for me, and now I feel I could actually do it with purpose.
One of the best compo tutorial ever
The 5-6 chord is in jazz parlance a tritone substitution for the dominant of the new key. For those that like to think of it that way. In this case I find the classical theoretical explanation for the 5-6 more convoluted than the jazz theoretical explanation for the tritone sub. Just goes to show there are always multiple ways of think about music theory.
Of course there is. And I think it is a good thing that nowadays you can use the simple explanation. Sometimes it can be fun to analyze the function of each chord. In other cases it's just enough to know that it will work when you use it that way.
I just found this channel and it's pretty cool. I have been playing music as a drummer for 53 years. I'm self-taught and never had any formal training. Since 2006, I've been writing music on the computer, first under the name "Correlate of Consciousness" and lately "27 Goats". I have watched different people teaching theory and am slowly picking stuff up.
Thanks again for these videos. I’ve been thinking about modulation a lot recently, so the timing and usefulness of this was perfect! Also, the no makeup look suits you!
"lower one note in a diminished chord and it becomes a dominant chord" I jumped up went to the keyboard and my mind was blown. I have been playing for 30+ years and never saw that. Thanks
So glad your back Anne-Kathrin
Really love listening to your videos, so informative and chill, thankkkk you!
Great video Anne. Very thorough. I really love the depth of information you use to cover your topics. Makes the information much easier to digest. Keep up the great work! 👍
It's fantastic how clearly you describe aspects of harmonic theory Anne-Kathrin!
Thanks Anne-Kathrin for a well explained video. I really enjoyed it and learned a lot.
Best music tutorial I’ve seen in months. Can’t wait to get started.
Wonderful explanations Anne-Kathrin 🙂As always. You have great ways to verbally explain those simple tonal shifts (modulations) to students. We - jazz musicians/composers use these techniques all the time on daily basis, but when it comes to explaining in simple words "how we did it" it becomes a chore sometimes... You do it so wonderfully ! I am gonna forward this (and all of your videos for that matter) to all my students. Thanks for a wonderful content !! 😃
Helpful?! Probably the most useful video I've watched on the subject ever. Seeing it in piano roll really helps crystallise it. Thank you!!
Thank you! I keep wondering if the piano roll is more helpful than sheet music but I figured it's something everyone can read (as opposed to sheet music).
I've understood more from this video than pretty much everything else I've either watched or read - thank you!
A lot of complex information packed in a very simple to understand form. I knew about all these modulation paths but this is the clearest explanation I have heard so far
Was enjoying a movie on Hallmark channel recently and saw you were the composer. Congratulations. Nice work!!!
Thank you!
Thanks from the bottom of my heart !
Thanks Anne! Really enjoyed this video!
This is a great video. Havent come across someone talking about all types of modulation like this when browsing yt just yet.
Really love your content. You are a great teacher, you make sometimes very complicated subjects, like modulation, and how to achieve it, easy to understand. Thats the sign of a great teacher!
Couldn't solve a too-long scene and came across this video during dinner....problem solved!!
Thanks for the great content as usual Anne!
Love your explanations! Please make more composition tutorials!
Lovely lesson. Easily understood. Thank you so much.
Yes, you were missed. Looking great.
Moin aus Bremen. Sehr instruktives Video, Anne. Danke!
I love the mod- through Gm / Fm. Creates mystical ambience. Lovely
Thank you Anne. A Great and simple explanation of modulation. My personal favorite is the secondary dominant, it always feels like a very elegant way to change the key.
The minor trick is very interesting, thank you. The entire video is very inspiring and we'll done. Tomorrow I'll exercise these on diferentes already made piece of ideas I have. Big thanks.
Wow, just found your channel and im sad i didnt find it earlier. Super awesome
You don't need makeup, you look great.
I agree! You look lovely! 🥰
Totally agree. :)
True
Du brauchst Deine Schönheit wahrlich nicht hinter Make up zu verstecken 😅
Anne-Kathrin, thank you for great videos! But since you mentioned it yourself, I've could have sworn you hade an extremely well made makeup in this video.
Absolutely brilliant video - thanx!! 🎉
im gonna have to watch this video too many times. thanks!! LOTS of information and resources.
Awesome video!! I had one professor refer to the sudden type key changes as "Cymbal Crash Modulations".
Terrific refresher. Papa Bach himself wrote parallel 5ths on occasion, even in four-part choral pieces. Sometimes, it’s the lesser evil. Everything is trade-offs, and if it sounds good, it is good.
Oh. And, yes. We did miss you.
Not on purpose he didn't. Not given lengths he would go to to avoid them.
The most usefull modulation tutorial I've ever seen. Suscribed, and thank you.
Thanks good seeing you and hearing again you sharing your insights.
😂
Thank you Anne-Katherine for the great info. You are always clear and concise. PS you look great without the icing.
Modulation to a small third form the main key is very effective and let say natural, Wagner use this much in 'Tannhauser' , 'Tristan and Isolde' and 'Parsifal' it's abseloutly fantastic! Yes you're totally right about modulation, very interesting 🙂
Thank you Anne very helpful!!! 👌
This was really helpful - thank you Anne. (And welcome back!)
Glad I found this channel
There is so much valuable information in your videos and you have a way to explain complicated stuff in a very practical and useful way. That is awesome. I had a hard time remembering and understanding the german 5-6 chord but you just went straight to applying it in a simple way! That is golden! Thanks a million!
Agreed 👆 Also, the way she explains it, isn't the German 5-6 chord the same thing Jazz musicians use all the time and call a "tritone substitution"?
Or is there a nuanced difference?
A very comprehensive video with good explanations of some types of modulation. As I'm a very bad piano player and a lacking knowledge of music theory I sometimes struggle with harmony. I subconsciously used one or two of the techniques mentioned in the video and know I can put a lable on it and dig deeper. Thank you.
Great video! I don't know why, but in the last 4 major diminished examples, I had a different intuition for where 2 and 3 would go lol, but the minor examples all clicked exactly as you wrote them.
Hey Anne, I heard your contribution to a Hallmark episode my wife was watching, great job. I even told my that I knew you lol. Keep doing what you’re doing,sounds great.👍
Thanks Anne you’re awesome
Great info! Maybe it's just my inner jazz musician, but shifting into a new key with ii-V-I has always worked well for me. It works especially well for modulating by thirds. Disney has lots of great examples of this.
Gear change! Made me laugh. I think we called it a phrase modulation when I studied, though it was implied that the modulation occurred at the beginning of the new phrase.
21:23 The German 5-6 chord is usually used for dominant double chords that resolve to dominant chords. In this case is a tritone substitution of C# (V of F#) (pretty jazzy)
Missed your videos! As always, super helpful for hobbyists like me to see clear examples of fundamentals. Thank you!
Thank you for continuing to make these!
Thank you. These are great!
Great to see you again.
No makeup is fine.
Very helpful your instruction.
Thanks Again
What a wonderful exposition! Bravo!
was just at the Bloc ⬛ love this overview
Happy to see a video from you again, so much valuable information in here (as always)!
These videos are amazing. I hope to see more and more of them.
Great sounds design ...congrats
Wow, some great modulation strategies - the German 5-6 was a totally new one for me!
just watched The Devil Conspiracy. your choir melodies are pure heaven, rarely heard these days. considering the movie I must say Eveline Hall stole the show, I couldn't take my eyes off this incredibly beautiful woman.
I love learning new modulation techniques and this video is brilliant!
I like to use common tones between sections even if they don't modulate. Although my application of these tutorials may be rather different than orchestral works I always get some useful information out of them. Looking forward to the next one 🙂
Excellent.
Regarding Direct Modulation (that's what we called your 'truck driver's shift' in conservatory)... I think your opening remark defining modulation as 'changing the key' sort of settles the debate about modulation. I think the debate isn't about what modulation is, but rather about what 'smooth' modulation is. Some direct modulations are inherently smooth, like you said regarding related tones, etc. and some direct modulations are not smooth at all. But I don't think modulation really needs to have any perquisites to be modulation. Direct modulation is certainly efficient, and I have used it on occasion to just get somewhere new... right now. It's not like the music stops and then starts again. The key is truly being changed within the context of a singular musical moment. I think your opening definition nails it pretty well. I've been loving your videos! You have a lot of no-nonsense content on here and your writing is very polished.
That was really lovely, thank you for the music.
Hallo Anne-Kathrin, tolles Video über die Modulation! Am besten haben mir schon immer Zwischendominanten und verminderte Akkorde gefallen!
Eine Frage: Hast du ein Video über dein Setup? Ich würde gerne wissen, welches Keyboard und welche Sachen du benutzt, z.B. zur Kontrolle von Expression oder Velocitiy etc. Vielen Dank im Voraus! LG Andi
Love this video, so much information and so easy to understand! I love how each technique has a different flavour - e.g. a good common tone modulation is barely noticeable to the casual listener (good for padding out unobtrusively) whereas circle of fifths or minor V are more obvious changes with a nice tension-release moment. Then o7 and 5-6 are great for period drama as with proper voicing they just scream C18/19th Europe. Or to crank the tension in an action scene just truck-driver up a minor 3rd because subtlety is for suckers! 😂
The German 5-6 chord is basically tritone substitution (take a V7-I, then move the V7 a tritone up/down), which people are probably more familiar with. Also, you can alter the dom7 further (#5 / b9) and it will still work. But with nice voice leading you can make anything work. Plus indeed, it's the 21st century so who cares :).
Unrelated but: as far as I'm concerned, no make-up is much preferred, you can save time, money, and the planet! (plastic packaging...)
Music Theory is a blast, isn't it?
Très bon, et l'exemple mélodique utilisé est magnifique.
TVery good, and the melodic example used is magnificent.
Really cool video. Thanks for that
very inspiring. Thank you
Another fantastic video! Thank you very much for this content.
thank you very much for this video. Its great to have this overview. (p.s. this natural look suits you great!)
Fantastic stuff. Just new to this world and you are immensely helpful. Learning a lot from you. THANK YOU. I bought you a few coffees!! Cheers and all the best.
Very good Tutorial, keep it up and well done!
German 5-6 Chord = Tritone Sub Thank you Anne-Kathrin for this valuable video.
This is great! I'm sure I'll be coming back to it. All the textbooks I know either give completely lifeless artificial examples of modulation concepts or fancy ones from famous composers which I can neither reproduce on the piano or locate in a recording without getting distracted. You found a very good middle ground.
yeah... You're absolutely right. I remember from my own childhood, how the vast majority ot the harmony textbooks were so useless and mundane ! Lifeless and boring. Ughhh... Anne-Kathrin has a gift to verbally quickly explain simple things, without being overly intellectual, boring, or beating around the bush etc. Straight to the point - practical. Something that any student can instantly apply.
@@KrystofDreamJourney I wouldn't necessarily call harmony textbooks useless. My main gripe is the philosophy in classical music that you should master your instrument before you even begin to think about what you're playing. I'm obviously overexaggerating a bit.
I'm not a virtuoso on any instrument, I simply cannot just pull off a 12 bar piano reduction of Haydn symphony that I'm unfamiliar with _and_ pay close attention to the sound of specific composition techniques.
Playing something myself does not necessarily help me grasp theoretical concepts. Playing is mostly muscle memory for me. Conversely, understanding how a composition works - meaning that I can recognize techniques in the sheet music _and_ associate a sound with them - immensely helps me learn to play a piece.
In my opinion, the theory/practice balance is way off in classical music education - at least in Germany.
@@streck0486 The textbooks by themselves are sometimes hard to read AND understand without aural effect of actually hearing the given example. Not everybody has inner hearing already developed while studying the instrument. But you’re right - in a lot of Central European music schools emphasis has been (and still is to a certain degree) on mastering the instrument itself, with theory being secondary. Playing “by ear” without any sheet music should be taught along with studying Classical music literature... Some progressive schools are doing it, some not. I guess it’s up to the teachers and curriculum.
I understand your teaching very well, I've done much music using common tones for modulation, it's so uplifting and refreshing😎🤤😷
Thank you very much! It's a pleasure to follow your clear explanations!
Could you please dedicate another video to modulation? This is the topic I am most interested in. And your approaches are very practical and suited to my creative process!
Perhaps, could you also do a video on the different types of dominant and subdominant chords and their effects and uses?
Or how to master the harmonic flow of fancy polychords? That's still a mystery to me... 🙏
I wish you a wonderful time in Austria! I'm from there, but I'm nowhere near advanced enough to take part in a Hollywood Music Workshop.😊
Fantastic video, thanks for the content!