You are FANTASTIC Aimee. I really loved your momentary singing through this video, such a beautiful sweet voice.

This is such a beautiful harmonic trick, I noticed it also in "Somewhere Over The Rainbow" on the verse that reads, "High above the chimney top".

Absolutely perfect, Aimee - I can't imagine this being explained better. And lovely to have all those examples of sections of songs we have all particularly loved but never really analysed why!

So cool thtat you are able to articulate these insights into the mechanics of these challenging "knots" that are faced by all who desire to play by ear, and untangle them with such an ease and outpouring of tips, tricks, examples and experience. Applied math. Go you!

First time watching your videos. At first, I was like, yeah, I know this stuff, I studied music at university. Then I was like, wait, no one ever told me this. EVER! Thank you so so much for showing me this! Seriously, this is rad. :)

I like this girl she is very humble although she is so accomplished. You never hear her say "I am going to "teach" you" like some of the other half witts. Aimee is the greatest.

For me who loves figuring out songs I love this is just what the music dr. ordered. Thanks Aimee.

Wow! Fantastic lesson. Thank you for putting these videos out there. When the summer's over and I'm done with my home renovations, I look forward to getting back to music.

Aimee, I am so happy to have found your videos. You explain everything so well. I've been a keyboard player for so long, and lately been interested in expanding my understanding of music theory. I've looked so many videos, but yours really resonate with my needs! Wishing you the best!

Thank you for sharing this vital info, its very vital info for all musicians, thanks very much appreciated.

So very helpful that you provided examples!!! For years, I wondered how/why Georgia abruptly dumped us to the E-half-dim? What was up with that? I kinda brushed it away as a "one off" trick and went on to whatever was next in my learning... but, that abrupt move to Em7b5 always tickled my interest. The fact that Yesterday does the same thing never occurred to me. And here today is the video lesson that ties it all together! Bravo Aimee!!!!

How could I not, click on this video, when it has such a provocative title!

I think I’ll watch this clip many times, I actually understood what you were talking about (yay, progress!). When odd chords show up that don’t fit the ii V I I usually went into brain freeze.

That was eye-opening for a beginner like me - I get modulation a lot better now - and how often it is used... Thank you.

This is the top shelf stuff. Brilliant insight.

Very helpful video Aimee. I can already see how to apply this to play more interesting chord progressions.

Thank you so much Aimee for this vid. This is an eyeopener to me. I hope to see more of you. Wow.

I thoroughly enjoyed your take on the subject, your explanation, examples, and talk-throughs. Wonderful!

Thanks Aimee, that’s very helpful. Modulate to minor 3 or minor 6. With the 2 mi7b5 and the dominant 7 of the destination note using the tritone. Help me get the algorithm right.

Beautifully shown!

Terrific! So much clearer than all those theory books and lectures. Gives me something to work on and practise.

Great! Really very brilliant and useful video. Thanks a lot!

Another top drawer video and a new favorite!

Thank you Aimee for sharing your experience 🙏, this was so useful .

Good lesson. I am going over it, practicing, analyzing. Many thanks.

Thank you Aimee, this inspired me to post an improvisation with many modulations (with notes).

Wow, going from the tonic to the ii v i is awesome! Thanks!

Thank you for your awesome teachings Aimee!!

As a child, before I knew anything about music, I would just obsess on a song and play it again and again. The general flow of a song, the chordal progression seemed to me like a leaf in the wind, falling predictable, then rising to different heights, then falling predictably. Looking back, I wasn't that far off.

So rad. Love this kind of stuff.

That was a really, really helpful video! I haven't tuned in for a while, so I'm sorry if this is old news, but I like the close-ups! It looks a lot more professional, and I like being able to watch what you're doing more closely. Good length too!

Always smart and pleasant thank you Aimee

Thank you so much for explaining this. It is going to help my compositions so much!

so well done. thank-you.

Aimee, thank you thank you! I love watching your videos, you make everything so relevant and approachable, you give up so much of your free time to pass on your knowledge. It’s invaluable. I feel like I get a university education all through you tube! But it’s also so achievable for jazz ‘beginners’ like me. Sometimes books can be so dry and you don’t know where to start. . You are a great teacher. :-)

best channel for pianists in the net!

Beautiful lesson, well done!

Great tutorial! I am just eating up all the juicy lessons you put out there!

Music food for the brain. Thank you.

Too naturally simple for you and therefore advanced for me

Ooooh ... somebody just redrilled my ears. Thanks, someone!

im not a musician but you have given me some knowledge on what iam listening to. thanks aimee!

Excelente. Muchas Gracias.

So useful to have context based theory. Top tier teaching.

Very helpful video! Thank you!

Amazing✨✨✨

This was so great! For years as not much of a piano player, I've tried to memorize the chords to Have Yourself and have always got screwed by that weird modulation. This makes it so easy to understand! All 30 keys, here I come. (Look up Victor Wooten if you don't get that) Thanks, Aimee!

You have a beautiful voice, its amazingly sweet.

Wow! Thank you.

great vid Aimee. I love minor II V I. This device is used a lot in Gipsy Jazz music. I like to think of the II min7b5 chord as a IV min6 where the 6th is at the root which makes it a minor IV V I progression. Lots of possibilities there ...

thanks for the great video. I hope i can understand what you said one day.

beautiful teacher

great video ! nicely compliments Beato's video on the same topic

Im enjoying your vids immensely

This unlocks 90% of Standards. The first thing is to recognize the relative, which was in Book 1 in everyone’s childhood piano scale lessons. From there you can figure out just about any tune I am interested in playing.Thanks for naming the mediant, I had not been making that connection mentally, but I can see that is the minor modulation of second choice, very prevalent!I am noticing how effective it is to find the stepwise bass moment from the previous tonic to the next ii in the bass to initiate the modulation. And, I picked up from a Joe Pass video, he told a student “forget the ii (!)”. Joe pointed out the scale notes are the same. I find sometimes skipping the ii, just going to the V gives a fresh direction, rather than outlining every possible ii V. Try it on the bridge to Cherokee, or on All The Things. Also, I like Barry Harris’ story about Monk claiming the ii half diminished is really iv6 with the 6 in the bass. Thinking that way seems to automatically lay out a beautiful voicing for me. Lastly, of course the process in reverse, starting in minor, Funny Valentine, Softly, Alone Together, Street Life, OGD Road Song, Nica’s Dream

Both of these are used in the bridge of Whitney Houstons "Saving All My Love For You"

This video is great.

I enjoy this sweet sadness! ;) thank you, Aimee!

Very good video. Thank you.

Oh man, I wish I understood with my mind what I am understanding with my ears. It's just a blur to me. Will watch it a couple times more. Thanks Aimee.

Great video aimee

your playing and teaching is fantastic i did not notice the hair.

My God, I was gathering info about Chromatic Mediant Modulation, and how could I miss finding "Yesterday," "My Romance," and "Moonriver" were the classic Mediant Modulations examples? Thanks for your beautiful lesson, Aimme! :D

Thanks 👍🏻

Thank you

Very very good thankyou

Your voice is heavenly.

Thank you for this lesson on theory!!!!

Your voice is beautiful Amy

Nice video really usefull!

Good one!

Aimee Nolte, how did you know? Thats' the exact song I've been working on. See, I'm trying to learn cocktail piano. Been doing voicing exercises and other 'prep'. And I figured I'd better start learning actual, you know, tunes, at some point. But where to start? So I thought wouldn't it be nice to start with Christmas songs? I'd had a fantasy of setting up a keyboard somewhere and maybe a tip jar, and playing during the holidays. But, still, where to start? So I set on Merry Little Christmas. Not too hard but a really nice song as a way of ushering myself into performing.

Great stuff. My hope is that one day I'll understand it. Going to have to take it slow.

Wow...I was using those ii/Vs last night when approaching diatonic subs! Got the concept from Joe Hubbard..;-))

Great video, very insightful. Blossom does a wonderful version on her Comden and Green album, too. Bill liked her thoughtful, every note counts playing. So do I. :-)

Sweet!

Like you, I had a drive as a kid, to learn chords by their sound. I think this drive is very much akin to a child's desire to learn the spoken language that surrounds him/her, don't you? In my case, the music surrounding me was mainly classical/romantic + some broadway shows. I took some piano lessons, including some rudimentary theory, and a little later, I took up pop/rock/folk guitar. Anyway, bottom line - I developed a pretty good intuition for chords & their changes. On a basic to intermediate level. You, OTOH, are at a higher rung on that ladder, and luckily for me, your rung is within my reach, not so far up that I'll never get there; so I should be able to pick up a bunch more from you. This was such a great little primer! Thanks for lending a hand-up!! You're doing a wonderful service here for so many of us! Fred .

Beautiful tune that debuted in Meet Me In St.Louis. Wasn't Judy so beautiful?.

cool that's a neat way to approach diatonic minor chords with some chromaticism. I gotta give it a try. I suppose could approach the ii chord with same concept.

Great video, thank you very much Aimee! The first chord of "Georgia" looked interesting because of your hand movement (at 7:35). I had to play it in slow speed to see what you did ;-).

I never noticed how pretty your keys are.

Perhaps worth noticing that adding a b9 to the dominant chord of a minor scale makes that dominant typically "minor" sounding. That's because that V-chord was originally a Phrygian chord, which has been altered from minor to major. Hence the b9.

Good.

More lessons like this plsssssss

Aimee this is really useful, thank you. What do you recommend in a minor scale if we want to modulate?

nice

Hi Aimee! It has taken me since 2018 to write you- but I have been a huge fan of your station! ( I’m shy and I have a crush on you) I am a gifted multi- instrumental musician ( drums, guitar , jazz( I’ve been studying Uncle Joe P since 1974) And of course uncle Oscar and Bill E) since 80’s and 90’s) You just mentioned The Beatles! I was 9 years old- they changed my life! Anyway- I love your patient way of teaching- I’ve learned so much from your videos! Thank you so much for your videos- I’m In Call- I wish I could see you play somewhere live! You are so beautiful and gifted! Keep teaching us- we love you! Oh by the way I don’t know the spelling- but are you any relation to Nick Nolte? Take care!

Thank you Aimee. Love your vids. This one left me wanting another one where you explain how such modulations usually return to the home key - are there some common patterns there? Or some things that generally happen next after this kind of modulation..? Would love to know your insights! Best x

Thank you Aimee! I’m going to try to learn m7b5 shape in all keys now, and then the minor V-i (with smooth voice leading) in all keys. Do you happen to have a video where you do drills on this?

♫ Out-side the rain begins and it may never end♫ Boz Scaggs, two in a row right off the top: Tonic -> Submediant-> Subdominant (I might be over thinking it?)

6:58 “All My”= A to B natural in the melody, and this peculiar discrepancy has always intrigued me about the 2nd chord, which may not even have a 5th of any sort (as some people suggest): Em11 (no 5) so the B natural is just a passing tone from the 11th of Em11 to the 3rd of A7

Hey Aimee. I love your videos, am a huge fan. So I'm just starting out jazz piano and am learning some songs from the real book. Right now I'm working to perfect autumn leaves. I basically have all the changes down and the melody as well, I'm just feeling like it would sound a lot better if I could maybe add a bit to the melody. I was wondering if you have any tips on what I could do with my right hand maybe to either make the melody more chordal (don't know if that's a word) or ways to use my right hand to add to the chords I'm playing with my left. Thanks aimee.

Dang, I need this sorta thing for Non-diatonic mediants.

Aimee, thanks for another great video. This video has opened my mind ! I play a lot of contemporary gospel: and these modulations happen a lot. Could you explain why the 6th median key ‘fits’ with the original key (i.e., if ‘A’ is the original key why does F sounds good as a modulation?) Thanks

It's a bit off topic, but did you use a beauty filter or is my bad internet connection smoothing out "areas" in this video? Anyway, great video again ❤️ Learned so much, since I found your channel on KZfaq.

A theory question: Is there a functional reason why a relative minor substitution isn't an aeolian modulation? To me, it makes sense to just consider major/minor as their modes, but I would be thinking 'lydian' to begin with rather than 'ionian'. All the theory I know basically comes from straight-ahead jazz and renaissance music, so I've noticed I'm pretty 'out there' with some theory stuff.

Hi, Aimee, would you say the changes of autumn leaves (just the A, basically a cycle of fifths) contain a submediant modulation (the first 4 chords are in major and then the last 3 lead to minor) or would you say it's all minor?

I think the second chord in "Yesterday" is a secondary dominant 7 chord, more like an E7 to an A7

Beatles in Yesterday don't make the half diminished chord of E before A7, but make E minor (7). It's also more coherent with the melody, that sings the scale A, B♮, C♯. They hide the B♮with the strings that play A, making seem the chord like A sus with the bass E, but over the E I hear a chord of E minor.

Whenever I call you "friend" by Kenny Loggins and Stevie Nicks is also a good example.