The Submediant Shift - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
Fu
it helps if you know different scales . You can use the b2, b3, b5, b6, b7....NOTE or CHORD
degree. Counting the MAJOR's TONIC...from C MAJOR ( the 5 BLACK Notes)
Db, Eb, Gb, Ab, Bb...( I personally see MODES terms as INTERVALE identications )
You could use Lyd #6, Lyd #5, #6 or Lyd #2, #6...as GUIDES over any of those chord degree
to modulate. ( In a NUT SHELL you could color/make whatever type of chords)..
It's easier to start off with MAJOR or Maj7 chords at first...( Lyd #2. #6) will simply be a possible minor chord that is all.....You could play the Ab as minor.
You could play C Maj or C7 into F min/AbMAJOR...
It'll be as if you play C7 into F harmonic or melodic min...ect
Then you'll simply see the Bb as dor b5 or dor #4..or lyd dominant to F melodic min.
A min Bb dim C7 into F min
or you could play A min Bb7 into Eb MAJOR or Eb min..then E7 into A min again.
or you could play A min Bb7 into Eb MAJOR...then see the Ab as lyd b3
to Eb Harmonic MAJOR...then G7 into C MAJOR or C min.
You could see the G7 as phyg dominant or phy b4....ect
Those are just GUIDES...or REFERENCE
Instead of playing Bb7 into Eb MAJOR....Play C Maj Ab min G7 into C MAJOR
or you could see the Ab as Ab Aeolydian to B MAJOR
C Maj Ab min Gb/F# into B Maj7 E Maj , E maj7 or E7 into A min or A maj7
Then the C# min....D7 or D dim ( whatever D) E7 into A minor)
it'll make all the since in the world...If I play E maj7 into A Maj7 to
Ab Minor/B MAJOR
then simply see the A as Lyd #2. #6....ect to Ab min/B MAJOR
then simply play A min D min G7 into C MAJOR.
As I STATED....the b2, b3, b5, b6, b7.....chord degree could be alter to any type of
chords
or play A7 into D min G7 into C MAJOR
or play A full dim ( C dim) into C# min..then D maj7 ( as the b7 chord degree to E MAJOR)
use the D maj7 as pivot to B min..ect then E7 into A min....again if you wish.
The E7 could be lydian dominant to B melodic minor..but just play it in an A chord.
or you can see the D maj7 as D lydian....ished
You could play it as Lydian #2, b7 or ( Mix #2, #4....aka Hungarian MAJOR)
to F# harmonic min b5 ( in other worlds...play to A MAJOR/F# min
then you'll simply see the D dim or min as Lyd b3 ( COMMON CHORDS)
to A Harmonic MAJOR or A harmonic min.....as reference.
If you see it in A MAJOR.....the G7 would simply be lyd ##6
to F# Harmonic min b2....ect
I know it could be harder to play it on a keyboard..The more you apply it..
the easier it gets. WRITING/PLAYING becomes more enjoyable and EASIER.
NoTATING it..for other people to READ it...could be a challenge.
reply
it helps if you know different scales . You can use the b2, b3, b5, b6, b7....NOTE or CHORD
degree. Counting the MAJOR's TONIC...from C MAJOR ( the 5 BLACK Notes)
Db, Eb, Gb, Ab, Bb...( I personally see MODES terms as INTERVALE identications )
You could use Lyd #6, Lyd #5, #6 or Lyd #2, #6...as GUIDES over any of those chord degree
to modulate. ( In a NUT SHELL you could color/make whatever type of chords)..
It's easier to start off with MAJOR or Maj7 chords at first...( Lyd #2. #6) will simply be a possible minor chord that is all.....You could play the Ab as minor.
You could play C Maj or C7 into F min/AbMAJOR...
It'll be as if you play C7 into F harmonic or melodic min...ect
Then you'll simply see the Bb as dor b5 or dor #4..or lyd dominant to F melodic min.
A min Bb dim C7 into F min
or you could play A min Bb7 into Eb MAJOR or Eb min..then E7 into A min again.
or you could play A min Bb7 into Eb MAJOR...then see the Ab as lyd b3
to Eb Harmonic MAJOR...then G7 into C MAJOR or C min.
You could see the G7 as phyg dominant or phy b4....ect
Those are just GUIDES...or REFERENCE
Instead of playing Bb7 into Eb MAJOR....Play C Maj Ab min G7 into C MAJOR
or you could see the Ab as Ab Aeolydian to B MAJOR
C Maj Ab min Gb/F# into B Maj7 E Maj , E maj7 or E7 into A min or A maj7
Then the C# min....D7 or D dim ( whatever D) E7 into A minor)
it'll make all the since in the world...If I play E maj7 into A Maj7 to
Ab Minor/B MAJOR
then simply see the A as Lyd #2. #6....ect to Ab min/B MAJOR
then simply play A min D min G7 into C MAJOR.
As I STATED....the b2, b3, b5, b6, b7.....chord degree could be alter to any type of
chords
or play A7 into D min G7 into C MAJOR
or play A full dim ( C dim) into C# min..then D maj7 ( as the b7 chord degree to E MAJOR)
use the D maj7 as pivot to B min..ect then E7 into A min....again if you wish.
The E7 could be lydian dominant to B melodic minor..but just play it in an A chord.
or you can see the D maj7 as D lydian....ished
You could play it as Lydian #2, b7 or ( Mix #2, #4....aka Hungarian MAJOR)
to F# harmonic min b5 ( in other worlds...play to A MAJOR/F# min
then you'll simply see the D dim or min as Lyd b3 ( COMMON CHORDS)
to A Harmonic MAJOR or A harmonic min.....as reference.
If you see it in A MAJOR.....the G7 would simply be lyd ##6
to F# Harmonic min b2....ect
I know it could be harder to play it on a keyboard..The more you apply it..
the easier it gets. WRITING/PLAYING becomes more enjoyable and EASIER.
NoTATING it..for other people to READ it...could be a challenge.
reply
alger3041
it is interesting to note that in a major key context, a flatted submediant tone, despite having subdominant connotations, can actually stabilize a major tonality by pointing directly to the dominant. Also, in a very interesting sense the note is not an accidental in the scale, any more than the raised leading tone in a minor tonality is, which we already take for granted as belonging to a minor key despite not being in the signature.
From a major scale, the major and minor keys three and four signatures flatward, and the major keys three and four signatures sharpward can be considered as directly related. They do not require an intermediary in the process of passing from one to the other.
Keys two signatures apart by definition cannot be related as they are contradictory to one another in nature. Keys whose tonics are a major second apart cancel each other out and cannot be related, and the dominant of a key, particularly of a major key, must be major.
reply
it is interesting to note that in a major key context, a flatted submediant tone, despite having subdominant connotations, can actually stabilize a major tonality by pointing directly to the dominant. Also, in a very interesting sense the note is not an accidental in the scale, any more than the raised leading tone in a minor tonality is, which we already take for granted as belonging to a minor key despite not being in the signature.
From a major scale, the major and minor keys three and four signatures flatward, and the major keys three and four signatures sharpward can be considered as directly related. They do not require an intermediary in the process of passing from one to the other.
Keys two signatures apart by definition cannot be related as they are contradictory to one another in nature. Keys whose tonics are a major second apart cancel each other out and cannot be related, and the dominant of a key, particularly of a major key, must be major.
reply
Northside777
You'll find this effect somewhere near the very end of Bruckner's Symphony No. 1. Though the work is in C minor, he sets up one's ears to expect a cadence on the tonic now in C major, instead we get the tonic note C harmonized over the lowered submediant. It's a dramatic effect. He then goes on to finish the symphony in C major.
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You'll find this effect somewhere near the very end of Bruckner's Symphony No. 1. Though the work is in C minor, he sets up one's ears to expect a cadence on the tonic now in C major, instead we get the tonic note C harmonized over the lowered submediant. It's a dramatic effect. He then goes on to finish the symphony in C major.
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Vitor
A good technic is using the pivot note to get some color before using it to modulate, because that prepares the ear for the modulation. Another one that has a similar effect is using a chromatic chord, like a secondary dominant or subdominant, that belongs to the scale to which you will modulate laterof, using the pivot note.
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A good technic is using the pivot note to get some color before using it to modulate, because that prepares the ear for the modulation. Another one that has a similar effect is using a chromatic chord, like a secondary dominant or subdominant, that belongs to the scale to which you will modulate laterof, using the pivot note.
reply
superblonde
05:30 The example is straightforward because you are writing it first. What happens if you play and write the enharmonic note. If the example is B# as the pivot note. Then suddenly the explanation and the theory breaks down. Even though it is the same audible pitch.
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05:30 The example is straightforward because you are writing it first. What happens if you play and write the enharmonic note. If the example is B# as the pivot note. Then suddenly the explanation and the theory breaks down. Even though it is the same audible pitch.
reply
kata
I-m confused because it-s called the submediant shift (6th degree as you said), but you are using the flattened submediant in this example. So how is the submediant shit any different than modulating the relative minor? (As A Minor is the relative minor of C Major)
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I-m confused because it-s called the submediant shift (6th degree as you said), but you are using the flattened submediant in this example. So how is the submediant shit any different than modulating the relative minor? (As A Minor is the relative minor of C Major)
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ERNEST
Thank you so much. That' s what I've been looking for. A very helpful exposition on mediant relationships. Quick question. Is it only applicable in Major keys? Is it possible to have submediant shift for an a-minor tonic chord and what would that be?
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Thank you so much. That' s what I've been looking for. A very helpful exposition on mediant relationships. Quick question. Is it only applicable in Major keys? Is it possible to have submediant shift for an a-minor tonic chord and what would that be?
reply
jwddwj9
Great video, you're such an effective teacher!
My question tho, isn't the Ab Major chord, when used in C Major, just like a borrowed chord from C Minor? I suppose that maybe that it's just another way to think about it.
Thanks again!
reply
Great video, you're such an effective teacher!
My question tho, isn't the Ab Major chord, when used in C Major, just like a borrowed chord from C Minor? I suppose that maybe that it's just another way to think about it.
Thanks again!
reply
yard
Lots of food for musical thought in this video. I am impressed with the way queries in the comments are not ignored but answered with encouragement. Very uplifting for those who are uncertain. Many thanks and best wishes from New Zealand.
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Lots of food for musical thought in this video. I am impressed with the way queries in the comments are not ignored but answered with encouragement. Very uplifting for those who are uncertain. Many thanks and best wishes from New Zealand.
reply
Jessica
Hi Gareth.Im not taking any music theory exam but interested in composing music .How are the music theory courses you provide different than just reading the music theory practice books of ABRSM?? thanks
reply
Hi Gareth.Im not taking any music theory exam but interested in composing music .How are the music theory courses you provide different than just reading the music theory practice books of ABRSM?? thanks
reply
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