This comment is the light in my shit day, thank you!

It actually sounds as if it was speeded up intentionally and designed to be slowed down for possible understanding. At 0,5 speed it is even more funny also! :)

That is what I was searching in the comments! Thank you

Lol

I can watch in 1.25x speed. Please someone say I'm badass.

Sensai?

I think that's called a "shock and awe" modulation. :)

I don't think that's called "modulation" at all.

Primus

Good plan. I do it all f the time in more than just music.

I predict that he'll use an intermediate key. So start on D, then go to a key that has a chord in both keys and than Abm.

My prediction was a chain. If you don't know how to get there, go to something you can get to. Just keep repeating until you get to something that can take you there.

Or draw a neo-remannian set of triangles and find the shortest route.

I note what you did there.

noting this is key

+Dennis Fluttershy Because this video is both key and change-inducing.

I majorly laughed at this joke after seeing it for the seventh time.

@@imnimbusy2885 Geez, your words are so dissonant to my ears.

Extremely clever

@@kaylons The keys they are a-changing...

Good catch, I didn't even think of the Neapolitan!

Yep my response shows this exact thing. Good catch and watch how smooth it transitions in latin jazz style.

how does that even look like on a guitar fret?

Neapolitan and triton substitution are closely related, and using A7 as a triton substitution to resolve to Ab was the first solution he suggested in the video.

In addition, they also have the same French augmented sixth chord. For example, in C the French aug. sixth is: (D F# Ab C) and in F#: (G# B# D F#).

That's a good point. I rarely see people talk about Neapolitan chords.

John Foster I think they're underrated. I listen to a lot of metal too, so that phrygian sound with the harmonic minor is just great.

Yeah, there's a lot of cool-sounding chromatic voice leading you can create using the Neapolitan.

@@johnfoster7762 Neapolitan is one of my favorite scale.

@@trippstewartm4a1 exactly. That's why I like it so much. Bring the dissonance. Also tritus authenticus. Samething with augmented 4th.

Patrick Hollen that's super smooth and beautiful... I wonder if it's because of the parallel sixths with the bass. . Lately I've been thinking that if you shove parallel sixths in an evident way (involving soprano or bass in said interval) within the voicing you can pretty much go wild (or absolutely conventional) and things will sound marvelous nevertheless

Luigi Brandão I think that's a good insight! Parallel sixths have always sounded so cool to me.

Parallel sixes or thirds make everything better.

Beautiful and mysterious :)

Why use the notations (6 4) and (6) to say second and first inversions respectively? I don't see the logic?

Same thought here. When you presented the problem the first thing that came to mind was diminished7ths which you presented as 'more advanced' but in classical theory is fairly basic. A tritone sub however you don't even learn about until you take Jazz Theory.

An augmented fifth-sixth-chord with double dominant funktion appears e.g. in Beethovens 5. Symphony, 2. movement (Modulation from ab major to c major). And in works of Bruckner and Richard Strauss this chord is often used with (simple) dominant funktion, in prinziple as a tritone substitution. So I learned this term in lessons about late romantic harmonies.

True I have heard this comparison between aug6 chords (or German 6/5 chords) and tritone subs. Though they aren't strictly tritone subs because true tritone subs require a paralell 5th to resolve.

There are parallel fifths in resolve of this chord in pieces of the Vienna Classicism and Romanticism. They are calld „Mozartquinten“ (Mozart‘s fifths). At the moment I have no example but I will pick some up...

"because true tritone subs require a paralell 5th to resolve" Not really. It depends on the chord. Yes, in its simplest form it does, but as pointed out above, that happens sometimes even in classical music. But a lot of the time the tritone substitution is a 7b5 chord. Actually, I would argue that this is the "true" tritone substitution chord, because G7b5 and Db7b5 have exactly the same notes in them. Augmented 6th is basically a different way of looking at the same phenomenon. In classical music it's pure voice leading - you have the augmented 6th that resolves outwards (for example the augmented 6th in the key of C would technically be an Ab7, but in classical analysis the chord is based on both the Ab and the F# resolving to a G). It's not treated as an actual dominant 7th chord in classical analysis. But in jazz analysis Ab7 and D7 share the same tritone (that is between the 3rd and 7th of the chord) and just have a different bass note. I don't see a reason with treating them as a different thing. Tritone substitution and augmented 6th are just two different ways of analyzing the same thing. In jazz analysis people tend to think about harmony more vertically than horizontally. In classical analysis it's the other way around - voice leading is what it's all about.

Flamínio Maranhão yeah, that was my first idea when looking at the problem, without even knowing whether it would work :)

What is a diminished 7th? My brain is fried trying to understand these concepts

Modulating between tritones is pretty easy one way of doing it is this In the key of C Play Second Inversion of C Major in right hand , And then have your left hand playing C bass note Now change every note in your right hand up one half step, And the bass note a half step down. Now play C Majors tritone F# Major

@@andrewsilver7048 a chord or arpeggio with only minor third interval. So 1, b3, b5, bb7 (which is the 6). Any of this four note can become your root since they are all only a minor third apart.

You beat me to it.

I know the German 6th. What's a German 65?

@@musical_lolu4811 German 6/5 (? Not sure myself.)

Thanks for pointing these out!

Alex Price you’re correct, but the class was obviously a legit class, whether they asked for a jazz tune or not- and in order to get a grade, you have to meet the expectations set forth in criteria. If a lifelong jazz player turned in the assignment- the player might call it ii-V cycles, the teacher might say it’s the use of secondary dominants through multiple modulations- A static modulation might also be acceptable, With a common tone tying the two in- and a Neapolitan option is obvious- but this guy is showing a fuckton of creative and acceptable ways to modulate here, and that’s the purpose of his videos- I just subbed- good shit.

I also tried to think of other ways of modulating to remote keys by using the French augmented sixth chord of the original key, and I came to the conclusion that one can modulate, from C, to C#/Db, D, Eb, F#/Gb, G, A and Ab. *To C#/Db by spelling the chord as {G#, B#, D, F#}, i.e. the dominant seventh flat five. *To Eb by considering the {D, F#, Ab, C} as an altered VII of its dominant, Ab (secondary dominant). To be more specific, as the dominant ninth sharp five chord of Eb, i.e. {Bb, D, F#, Ab, C}, with the root omitted. *To Ab as described above (not as secondary dominant, though, but just dominant). *To G as a dominant seventh flat five (hmm... the same as in C#/Db tonality). *To A by considering the chord as an altered VII of A, i.e. {G#, B#, D, F#}, or as an altered dominant with the root omitted. *To D by considering the chord as an altered VII of its dominant, A. *To F#/Gb as mentioned in the comment above. I am now wondering, can the French augmented sixth chord (or perhaps the German, or Italian) of the original key modulate to even more remote keys? What about a chord in the original key (with a function of either a dominant or a secondary dominant, altered or not) contains the same notes as an augmented sixth chord of the destination key (like the C7 that goes to B7 and finally to E, as in Waldstein Sonata)? Is there any "cheatsheet"? Please 12tone, make a video about all these, if you haven't already. They're really exciting!!!