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How Do I Change Key? Five Ways To Modulate In Style || Piano Questions Answered

Bill Hilton
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Check out my Patreon: www.patreon.com/billhilton
And my book: www.billspianopages.com/how-to-really
In this episode of Piano Questions Answered I'm looking at some of the ways that you can move from one key to another - otherwise known as key modulation.
**Tutorials referenced**
The concept of musical key: ruvid.net/video/video-aU3VEy-4qwM.html
All the basic piano chords in one epic tutorial: ruvid.net/video/video-C1i-cFx7__M.html
Chord theory epic: ruvid.net/video/video-AYBQUvmhAX8.html

The tutorial covers five specific techniques: moving between relative keys and parallel keys; jumping keys; using the circle of fifths and using pivot chords. I also discuss how you go about deciding when a key change is actually a key change and when it might just be a brief diversion away from the natural chords of the home key you're using.
You'll find this tutorial useful if you interested in songwriting and composition, if you're learning about music production or if you just want to spice up your piano improvisations with the occasional key change.

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Apr 25, 2018

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Comments 80
Bill Hilton
Bill Hilton 7 months ago
Remember to check out my books - How To Really Play The Piano, Seven Studies In Pop Piano and An Introduction To Cocktail Piano! Links here: www.billspianopages.com/how-to-really www.billspianopages.com/cocktail www.billspianopages.com/seven-studies
Jacko Slapbass
Hey, great video. Would really like to see some more detailed explanation of the last section of the video where you are jumping between keys using alterations to chords.
The Kid GT
The Kid GT 6 days ago
Fantastic!
Tom Backhouse
Tom Backhouse 12 days ago
I can't play piano, nor any instrument really... well, I can whistle. Nevertheless, I want to understand music, and I don't often find resources which go into the technical detail I want. Subscribed, my friend!
Tom Backhouse
Tom Backhouse 8 days ago
@Bill Hilton I honestly didn't know that! That's pretty encouraging
Bill Hilton
Bill Hilton 9 days ago
Thanks Tom! One or two pretty notable composers (I'm thinking of Berlioz and Rousseau) managed without much in the way of instrument skill, so you can still do a lot with just the knowledge...
Raymond Doetjes
Raymond Doetjes 19 days ago
You took the words out of my mouth with moving up just a whole note or half note. The “Disney change!”.
Raymond Doetjes
Raymond Doetjes 15 days ago
Bill Hilton yeah it is! And the first time I heard it was on a Bon Jovi song Living on a Prayer, when the bass player (a very accomplished violinist too) said: “Then we are going to Disney it”. That was 1988!!! And he explained that it’s either a whole tone or semi to modulation. And once you know and watch a Disney movie, you hear it so often! And the interesting part I find is, and you explained that too, that for some reason it only works when there’s a bit of a pause or a sustain before modulating. What the neurological or psychological reason for that is, is beyond me. Perhaps that the old tonic and the new tonic are too close for the brain to realize it’s a root change??!! Do you know?
Bill Hilton
Bill Hilton 17 days ago
I can't even claim credit for the coinage, Raymond! I first heard it years ago, and I think it's pretty common currency among, e.g., session musicians.
Ramesh Ramesh
Ramesh Ramesh Month ago
Beautifully Explained. thank you.
Bill Hilton
Bill Hilton 27 days ago
Glad you liked it, Ramesh - thanks for taking the time to say so!
lIIlIIlIIlIIl lIIlIIlIIlIIl
this pivot thing with the additional alteration just hit me right in the face , thanks for that
Bill Hilton
Bill Hilton 27 days ago
You're welcome :)
Umberto Ronco
Umberto Ronco Month ago
How will you moove smooth from Dminor to B(major)?
Bill Hilton
Bill Hilton Month ago
There aren't many common chords between those two, Umberto, so you might need to go via an intermediate key (something like ..A->F#->B might work). When all else fails, I just jump!
MIKE TYSON
MIKE TYSON Month ago
Thank you
Jayagopi Jagadeesan
Hi Bill, thanks for your lovely explanation and tips on how to create some great chord progressions using key change or modulation. Absolutely smashing. I also bought your book. Excellent book. I love watching your videos although some of them are quite difficult to follow 🙂
Bill Hilton
Bill Hilton Month ago
Thank you Jayagopi - I very much appreciate the kind words, and thanks for buying the books! I'm always working on making things as clear as I can, so I hope you'll continue to enjoy my stuff!
Oscar Meadowcroft
When you played C7 to F the first thing I thought was YOU GOOOOT A FRIEND IN ME
arun dey
arun dey Month ago
FANTASTIC,I FEARED EARLIER MODULATION VERY MUCH, NOW YOUR EASIEST AND FUN EXPLANATION CAUSED MY HEART PEACE AND JOY. MANY MANY THANKS AND HEARTIEST SALUTE,SIR. Arun dey
Peifang Tan
Peifang Tan Month ago
Thank you .Love ye teachings. Blessings
Bill Hilton
Bill Hilton Month ago
Thanks Dorean, and to you!
Ola Oke
Ola Oke 2 months ago
Can you make a video teaching the modulation done in Titanic- my heart will go on by Celine dion
E Maravillas
E Maravillas 2 months ago
Good video 👍
Bill Hilton
Bill Hilton 2 months ago
Thanks! Glad you liked it!
Hello
Hello 2 months ago
Excellent video and explanation
Goman Fong
Goman Fong 2 months ago
where do i buy keys?
idontimagineyouandi
idontimagineyouandi 2 months ago
people really struggle with this.. I used to, too. play E G B.. you're in Em/G.. hang on F# a minute.. then A#.. then B.. now you're in Bm/D... hang on F# a minute again.. then (B) A# ( f).. then hit d#... bam, now you're in d#m/F#... done. simple as that! (now just try to think of a vocal melody to that! haha, jk.. don't. you'll never finish it.)
Franco Bonanni
Franco Bonanni 2 months ago
Excellent explanation. Useful writing in roman numbers on the display. The best work done on modulation. Good explanation.....thank you.
Bill Hilton
Bill Hilton 2 months ago
No problem, Franco - glad you liked it!
Aressa
Aressa 3 months ago
thank you for this, your an awesome teacher! do you offer private online lessons?
Peak Master -At The Height of Tech
Love from INDIA 🇮🇳, you are my guru (Teacher in hindi) 😃
Bill Hilton
Bill Hilton 3 months ago
Thank you, and love from the UK!
Mike Albanese
Mike Albanese 4 months ago
Crap. I looked underneath this video but only found my desktop.
Bill Hilton
Bill Hilton 3 months ago
Have you tried looking underneath *that*, Mike? (And, to be serious for a sec, did you find the link you were looking for?)
Lil Kevo 303
Lil Kevo 303 4 months ago
great video! very educational and easy to understand and well produced. thank you.
Bill Hilton
Bill Hilton 4 months ago
No problem - thank you!
musicatraian
musicatraian 4 months ago
Hello Sir! Regarding the topic you are teaching I found the easy way how to modulate to any key by using 4 chromatic notes that are included in a minor 3rd. You may watch my examples ruvid.net/video/video-KEHrjBSMNss.html
Tanner Yilmaz
Tanner Yilmaz 5 months ago
Why does he go to E minor from B flat 7 at 15:25 ?
אורה עמנואל
to modulate I to VII : can I use TriTone subs and consider it to be V7 of VII I -> I7 -> #IV7 -> VII
Bill Hilton
Bill Hilton 5 months ago
Yes, you could, though it's a fairly exotic sound (obvs!). Personally I wouldn't see the need for I7 between the I and the TT sub - I'd just accept the jump, if that makes sense.
Emmanuel Drummer
Emmanuel Drummer 6 months ago
So great this lesson.. thx
Jay Swiss
Jay Swiss 6 months ago
Great although I wish you said the chords you were playing so I had an example to go off of
digs dorito
digs dorito 6 months ago
I've found a lot of music teachers don't explain what the Circle Of 5ths is actually used for. It's more of a case of "learn this because it's important" . You explained that in such a relevant way, thank you; it's refreshing!
Bill Hilton
Bill Hilton 6 months ago
No problem - glad it helped!
Chris McCormick
Chris McCormick 6 months ago
Hi Bill- quick question for you. Do you think it is pleasant sounding to modulate up at the end of a tune more than a full step, or is this too much a change and doesn't sound good? Thank you!
Bill Hilton
Bill Hilton 6 months ago
I think it depends on genre, Chris. In most pop songs the classic "Disney key change" - up a half-step/semitone in the final chorus is the final thing to do. However, I don't see why going further should be a problem, as long as it doesn't cause problems with vocal range!
Cory Shinn
Cory Shinn 6 months ago
Such a great video I learned so much! Especially that circle of fiths technique very helpful👍
MrPabgon
MrPabgon 7 months ago
From all the people who've watched the video and all the people who will watch it: *thank you*
cooljay cooljay
cooljay cooljay Month ago
there is now a possible 50% creativity increase in many amateur songwriters. beautiful
Michael Kwan
Michael Kwan 7 months ago
What a masterclass. Thank you for your generosity.
Jonah Williams
Jonah Williams 7 months ago
Oh man! Within the Circle of 5ths technique, the usage of the flat 7 chord as a transition is just marvelous!! :D Thank you for taking time to share this!
WalyB01
WalyB01 6 months ago
Yes, 100s of years of music was writen using "only" that changes. Althouhg pivots are used as well alot.
Le Rigoureux
Le Rigoureux 8 months ago
15:35 - He means Eb minor.
Bill Hilton
Bill Hilton 8 months ago
Yup - I certainly do. Thanks, and well spotted!
Jay Packard
Jay Packard 8 months ago
Nice clear tutorial. Perhaps you could say something about how the harmonic rhythm affects the feeling of having modulated to a key or not. With the pivot tone used to modulate to the fifth, you've changed your 4 note progression (C a F G) into 3 (C a D), thus breaking the expected harmonic rhythm. It would seem if you could extend those 3 into 4, you'd feel more like you landed in the new key because of a consistent harmonic rhythm. I've had trouble finding information about this.
L Lee
L Lee 6 months ago
Jay Packard , did you ever find information on this?
Stuart Chestnut
Stuart Chestnut 8 months ago
Excellent
MIKE TYSON
MIKE TYSON 9 months ago
Thank you so much
George Jobe
George Jobe 9 months ago
Here are all of the techniques Technique 1 - Relative Keys - 3:23 Technique 2 - Moving between parallel keys - 7:38 Technique 3 - Move up semi tone or whole tone (AKA “The Disney Key Change”) - 11:32 Technique 4 - Circle of 5ths (using dominant 5) - 13:48 Technique 5 - Using a “pivot chord” - 16:45
LUIS PEKERSON
LUIS PEKERSON 29 days ago
@donny bravo where did you get that from exactly
donny bravo
donny bravo Month ago
technique 3 - also known as "the jewish key change"
Matt Carey
Matt Carey 5 months ago
My hero!
dckegger
dckegger 10 months ago
Impeccable instruction! So many puzzle pieces of theory suddenly found their place. I feel blown away right now. I'm filled with gratitude. Thank you.
Bill Hilton
Bill Hilton 10 months ago
Thanks very much indeed - really glad it helped!
Lars Meißner
Lars Meißner 10 months ago
Hm I'm not quite sure if I understand this. After this video (btw great as always) I wrote the following progression ||:D |F#m |G |A :|| |D |F#m B |E |E | ||:E |E |A |B :|| but it doesn't sound well after the modulation to E. I also tried to modulate with |D |F#m |B |E | but that doesn't work either. After the repetition of the progression in E it establishes as the new key. Do I have to use 7th chords to make it work?
Bill Hilton
Bill Hilton 10 months ago
It'll be quite context dependent, Lars, and affected by things like voicings. So sevenths might help. However, other solutions could be D -> Bm7 -> B7 -> E (looks dramatic, but sounds quite logical) or D -> A -> B7 -> E. For something a bit wilder, you could go D -> A -> A/B -> E. How do those sound?
Petar Petrovic
Petar Petrovic 10 months ago
Sir thank you a lot for taking your time and explaining this to us.
Bill Hilton
Bill Hilton 10 months ago
No problem Petar - glad to help!
X S
X S 11 months ago
Fore too fast and complex repetitive, a lot of stop and go.
BoldCautionProductions
Thanks for the great share...
Jack Worthington
Amazingly useful video!
Adrian Watson
Adrian Watson Year ago
God bless bro
Rajobrata Das
Rajobrata Das Year ago
The third one's amazing
Majic8ball
Majic8ball 11 months ago
spear of justice bro
SageX85
SageX85 Year ago
Watched the video and stayed the same, waste of time. Same vague explanations as many others. Better find concrete explanations. Already know that you can modulate whole steps, and relatives and all that, but HOW the fuck do you do it? Is it really that hard for people to give concrete answers?
Bill Hilton
Bill Hilton Year ago
The fundamental difficulty - and I do understand the frustration - is that with so much music theory there are *so many* ways of doing things, that the best you can do as a teacher is give an outline and let people play around with it for themselves. There's only so much that can be rationally explained in theoretical terms: a great deal of it you literally have to work out for yourself using your ears ("the theory suggest maybe this sounds OK - does it?"). As for concrete examples, well, there are some in here: they may only be a starting point, but that's because they can ONLY be a starting point - the subject is just so huge. Anyway, sorry it wasn't helpful, but the fact it's like "many others" as you say maybe hints at the nature of the subject matter rather than at any failing that I, or other guys on RUvid, might have.
Richard
Richard Year ago
10:50
Richard
Richard Year ago
13:03
Victor Alvarez
Thank God I found this video, dude. When I saw this, you asked about my knowledge and I knew not much about chords. I watched your 20min video about chords and I took like an hour to practice them, and I learned a LOT! God bless you man, keep it going.
Hecham Ghost
Hecham Ghost Year ago
Can u do a tutorial on relative chords
Tanki - Cubed
Tanki - Cubed Year ago
gosh i love this channel
HerrWillie
HerrWillie Year ago
how can I arpeggiate a slash chord like D/F# for ex?
Bill Hilton
Bill Hilton Year ago
Same as you would any other! In some circumstances, given the slight chance of a brief tonal ambiguity given the non-root inversion of the chord you might want to ensure the arpeggiation is reasonably quick, or is played with other chord notes in the other hand, but mostly you're fine just arpeggiating as you normally would.
Brighton Easterling
a year ago i wouldnt have known any of this shit, god i love music
Dea
Dea 9 months ago
Me too
Don Lessnau
Don Lessnau Year ago
Outstanding lesson. Thanks very much. Really excellent.
Bill Hilton
Bill Hilton Year ago
Thanks Don - glad you liked it!
Slwan Kadbeh
Slwan Kadbeh Year ago
really great video lots of info covered that I didn't no but so far you've been focusing on how chords modulate to different keys and what I'm interested in is how the melody itself is modulated, is there a pivot note in the scale that we can escape from it to another key because I've seen some kind of pattern in lots of songs, but I can't quiet grasp the idea behind it. it seems you're very experienced in the theory, I hope you can at least refer to me the terms to search for. and I think after the melody is established ,the harmony will follow
Slwan Kadbeh
Slwan Kadbeh Year ago
@Bill Hilton thanks a lot
Bill Hilton
Bill Hilton Year ago
Hmmmm - good question. Usually it's a case of simply switching to the new scale. An easy way of doing that would be to use adjacent or shared notes: say, for example you're modulating from C major to Eb major, you could move from E natural (in C major) to Eb. Probably a good way of learning more is to listen to/play some piano music that contains modulations and see how various composers do it?
Avramy Leitner
My man deserves more credit,thank you so much
Bill Hilton
Bill Hilton Year ago
Thanks very much for the kind words, Avramy - you're welcome!
Bob Berch
Bob Berch Year ago
Cheers for all of this Bill. Question for you: - Why is the circle of fifths referred to as resolving at 5 notes or a 5th below, where (on guitar anyway) it's easier to make it resolve UP a fourth?
Bill Hilton
Bill Hilton Year ago
@Bob Berch Ah well, I didn't even get GCSE! (Chemistry, that is. I got Music...!)
Bob Berch
Bob Berch Year ago
@Bill Hilton 'A' level chemistry is more simple haha. Cheers Bill!
Bill Hilton
Bill Hilton Year ago
Good question, Bob: basically because the dominant-tonic resolution is based on the first and fifth notes of the scale, and it's easier to think - in the abstract, away from an instrument - of resolving down five notes than up four. If you wanted to get geeky about it you think in terms of the harmonic series, where the second overtone of a note (which is where the diatonic scale gets its fifth) is a higher note than the original note, so, again, it's all about downwards motion. Of course, you can think in terms of going up a fourth (which, as you say, is usually easier on the guitar) but to avoid confusion and to reflect the underlying harmonic structures it makes more sense to encourage people to think in downwards terms. Short version: it's complicated, but it makes sense, honest...!
Cheuk
Cheuk Year ago
15:36 do you mean Ebm? I'm a bit confused. This video is very useful! Thank you so much! :)
Bill Hilton
Bill Hilton Year ago
Yes, definitely Ebm. Sorry about that - slip of the tongue :) No problem - glad you're finding it useful!
Samuel Peckman
Thank you. This is helpful.
Bill Hilton
Bill Hilton Year ago
No problem Samuel - glad to help!
HeiA
HeiA Year ago
Teach us turnarounds, so you can combine it with returning from a key change
Phil Uniacke
Phil Uniacke Year ago
Great video and I actually understood most of it 😁 but a couple of questions...when modulating, would you keep to the same progression in the new key? Because adjacent keys (C-G for example) share 4 of the same chords so it may be difficult to hear the key change.. Also, talking about the degrees of the scale - if in a Major key you have your degrees I,ii,iii,IV,V,vi,vii*. How would you write out the degrees when changing to the relative minor?
Bill Hilton
Bill Hilton Year ago
@Phil Uniacke Yep, you've got it. No problem!
Phil Uniacke
Phil Uniacke Year ago
Bill Hilton actually it does make sense. So, in terms of minor keys, the ‘borrowing’ makes the minor v chord into a (major) V7 chord? But doesn’t ‘have’ to be to stay in key. Thank you for a very clear answer. 👍🏻
Bill Hilton
Bill Hilton Year ago
Good questions, Phil! Whether or not you keep the same progression in the new key after you've modulated... it depends on what you're playing. If you're playing the chorus of a song in C major, modulate up to Db major and just play the same chorus again, then yes, the progression is the same (relatively; all the chords in it will have shifted up a semitone). Some pieces on the other hand - and I'm thinking in terms of classical material, really - may change completely. Modulating between keys that share chords isn't usually a problem, as long as the listener's ear gets clear direction as to what is the new tonal centre - if you give a clear sense of where the new tonic is, you should be fine. Degrees of the natural minor scale are i, iidim, III, iv, v, VI, VII - the same pattern of majors and minors as if you'd started on the sixth degree of the major and looped around from there. (Bear in mind that minor keys often "borrow" a sharpened seventh from the harmonic minor scale so as to create a clear dominant V chord). Does that make some sort of sense?
sibi chakravarthi
Very useful my dude😍😍loved your video....expecting more from you in the topic of changing keys...need to know in depth😍😍but this is simply awesome 😍👌👌
Bill Hilton
Bill Hilton Year ago
Thanks Sibi - glad you liked it!
jack zhen
jack zhen Year ago
Changing keys is not hard, the hard thing is how to naturally go back to the original keys progression, can u do a tutorial on that ?
rocadezona85
rocadezona85 11 months ago
Uptown Girl by Billy Joel
OneEye Monster
@Zahin Rashid Official Dominant are just a maj3 stack below a diminished chord. The ROOT of a diminished chord is the second arpeggio of a dominant chord...as in G7 ( B into C) into C as the ROOT of MAJOR or minor... G B, D, F Following the same concept of LEADING tone into a TONIC You can simply play a diminished chord a semi tone below a tonic via using the FULL diminished...II, IV vi VII (2, 4, b6, 7) chords are all possible LEADING TONE notes. From C Harmonic MAJOR .. it's dorian b5 ( dim) You can simply D dim into Eb ( MAJOR or minor....as the new tonic) F......Ab......B..... A harmonic min B, D, F, G# it dosnt have to a dominant...it's the Maj3 into 4 ( cycle DOWN) Example...from F lydain....you simply play F Maj into Bb Maj ( lydian) which will put you in F MAJOR/ D minor To get back into C Major/A min.....simply play E7....or E Maj It's the G# note into A... It would simply be the D double harmonic minor or D lydian b3. You;re basically circle back UP to the 5th from F Maj to C Maj, again... or you can use AUGMENTED chords...because they're all stack with Maj3.....such as C , G#, E From A min to E min ( G MAJOR) it's that samething A min B7 into E....#4 into 5 ( the 5th become the new tonic. E minor...to keep it simple.. But you could also play E7 into A MAJOR/F#min it's the II chord as dominant into the 5th as the new tonic From C Major.....you could had easily play D7 into G MAJOR/Eminor The common chords are Dmin , E 7 in A Harmonic MAJOR and A harmonic minor example....from C harmonic MAJOR...its F min G7 into C The common chord in F lydian #2, and G7 ( mix b2) it's basically so you have the option of play into C MAJOR or A minor Ok ..from E min....Back to A min... There's different ways. A melodic minor.......= F # dim, G# dim into A minor you can simply play E min, F# dim, G# dim into A min...again but you can also play A min D7 into G MAJOR/Eminor or you could also play A min D min E dim into F MAJOR/dim Y or use the ( N6) E harmonic min b2 as In F maj7......F A, C, E = F maj7....yes??? F A, C, E It's going to help you cycle down to the 4th.. but you can also see the F as Ion or mixolydian....depending how far you want to cycle down. You also could had play the F as diminished...The stack full diminished..above or below....use any notes from the F full diminshed as a possible LEADING TONE...to where ever you want to go. Play play E min F dim G# dim ( E7) into A minor again ( C MAJOR./Amin) or played F DIM or AUG into F# min/A MAJOR or E min, F#7 into B min or B MAJOR.....via altering the II chord From the MAJOR or RELATIVE minor as in E min F#7 into B or G Maj A7 into D You also could had see the F as AUGMENTED to D harmonic . melodic min...ect...stack MAJ3 above or below...using any of the notes from an augmented chord as possible LEading tone notes... in a nutshell....you're simply creating a LEADING TONE note into a TONIC or chord. How you stack above or below that leading tone note is all optional.
Zahin Rashid Official
you can go back by the Dominant7th chords of that original key
OneEye Monster
@lagerbaer it;s just VISUALLY EASIER to see it on the guitar fretboard... becuase the strings are tune to PERFECT 4th or inverted perfect 5th... Yes..common chords or simular modes.... D........................................................R A............................................4..........5 E string...................................A.........2 A..................C........D..........E E.............................A..........B So if I play the Bb Note... I just have to slide everything down 2 frets...whalla Im in G Minor. The patterns ( fingering) will still be the same as A min..Just 2 frets down.lmao.... Ab minor??? That's on the other side of the circle of 5th ( on paper) but it's just a fret lower...for me.lmao example...If I play A double harmonic min..its B MAJOR as the II chord yes???? I dont have to play it as B7....just a SIMPLE MAJOR will do... or even B maj add 6 it;s relative minor is G#min or Ab min.lol It's actaully EASY....I just have to barr across the 4th fret. Play the B Maj diad ( 2 notes)....which will give me B Maj add 6 Then all I have to do is lift my finger from the B note.. Whalla....Ab min7 Or I can simply play into the E Maj7 The Ab minor will simply be in Phrgian position for a little while Im use to playing the G# phrygian b4 as Dominant or minor Im just basically circle up a 5th from C# Minor...to G# minor As I said...the guitar strings are tune to perfect 4th or INVERTED 5th so Im going see the G# min as the minor's tonic the C# as the IV then play the D# as the Phrygian...the E Maj7 will simply be E lydian.. If I just keep it simple...Play a simple E Major I can play F dim G# dim into A minor again Notice the R on the D string and the 5th sitting right below it??? It's the samething from C# min to G# min Okay...notice the A Note at the nut....it's A minor From the Bb note as MAJOR or Bb as mixlydian Im going to play The C as minor... It'll be the samething as A min...everything just move UP 3 frets...lmao if I want to play in D minor...just 2 frets UP.. If I want to play in C# minor just move it UP 1 fret from C min.lol. That's why I bored of playing only the Major/natural minor scales.lol It's the samething....just in different pitch..or different part of the neck.... I know it's more challenging to do it on the Keyboard... The inlays on the guitar fretboard used to mess me up... It still dose sometimes...lmao...it shouldnt But I need sometype of a visual ..so I can count the intervals faster.....I know the different intervals from strings to strings. It;s just like using a slide ruler....i see this pattern on the fretboard. ALL the WHITE NOTES....I memorized it. i see other scales too...but the white notes is second nature to me. now.
lagerbaer
lagerbaer Year ago
Well if changing key from key A to key B is easy, then why would changing from B to A suddenly be hard? In "Way 1" you go from C to a and a to C effortlessly because they share the same underlying scale. In "Way 2" ,you go from C to c and c to C effortlessly because they share the same dominant chord. Way 3 you don't go back because the whole point of that modulation is to end the song on an uplifting note. In "Way 4" you just keep moving along the circle of fifths and in Way 5 you use the pivot chord in the opposite direction.
Tomminger
Tomminger Year ago
How do I find the pivot chord if I'm in a minor chord progression in the first place? I surely can't use the VI chords...
Peťo
Peťo Year ago
What s the name of ur piano? ( I dunno if it s in the description or not but i don t have time to read)
Peťo
Peťo Year ago
Thank you.
寧浩楓
寧浩楓 Year ago
thanks, you help me a lot.
Francisco Fernandez
Awesome! Thanks bro
My Musical Dream
No mention of the V7 of 6 regarding relative keys??
Ioan Gherasim
Ioan Gherasim Year ago
was that last one a plagal cadence with chords?
Star Sky
Star Sky Year ago
Invaluable!
x iLeon
x iLeon Year ago
some times the examples you make up to demonstrate are so beautiful, they are a source of inspiration!
I am S H A R M I
1. Moving b/w relative keys 2. Moving b/w parallels keys 3. Move up semi tone or whole tone 4. Circle of 5th 5. Use of pivot chord
Jiro
Jiro Year ago
oh man...
Michael Fitzurka
excellent simplified overview. ty bh
António Pacheco
hey bill! first of all thank you so much for the lesson, it really helped me! i just have a little suggestion: that when you play the chords, it would be useful for us, students, to have shown on the screen wich degree your playing so we could learn better about the chord progressions youre playing. Apart from that, youre doing really good, you make everything sound really simple! Thank you again, youre making a great job!!! :)
António Pacheco
like what you did from 17:16 on...
Israel Crawford
Lol the Disney key change good video
VampieOrange 3
Go to the locksmith. Jk, in all seriousness, this helps alot.
Eric Litho
Eric Litho Year ago
secondary dominants are very useful to change keys
Pavan Sureja
Pavan Sureja Year ago
The pace could have been a bit slow... While demonstrating the chord changes.... I got completely derailed🙁
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