All language subtitles for _eyhaxMWSEasoWsTFqhGtQ

[MUSIC]

Round, Round get around, I get around.

Yeah, get around,
round round, I get around,

[MUSIC]

>> Most pieces in pop music, most songs
are written in one tonality, or one key,

and they stay there from beginning to end.

Most pieces in classical music,
however, change keys.

Because they're generally longer and
because we would become bored listening to

the same sound,
the same scale, all the time.

When music changes tonality,
or key, it's said to modulate.

Modulation is something akin to
a change of musical scenery.

We've moved to a different landscape or
a different soundscape.

Let me play some modulations here
on the piano, some quick ones.

So we're in this particular key.

[MUSIC]

Now we're gonna modulate.

[MUSIC]

Now we're gonna modulate.

[MUSIC]

Now we're going to modulate,
and so on, and so on.

To demonstrate modulation in a piece
from the world of classical music,

by Aaron Copland.

And one from pop music; a great
piece by The Beach Boys.

Let's turn to a class video, all right.

We have one more idea to talk about and
that is the concept of key and modulation.

Now this piece by U2.

[MUSIC]

Is written in a key, it's got a home key.

It's an odd key, it's a B flat minor.

Five flats, b flat minor.

But it nonetheless is
a key the whole piece,

at least the vast majority of it,
is in that one key.

Occasionally, composers will change keys.

I was thinking I could play right before
you hear the Beethoven he starts.

[MUSIC]

So here we are in this minor key.

[MUSIC]

And here he is in a new key.

This is a major key here.

[SOUND] So composers do change keys, and

when they change keys they affect
whats called a modulation.

Let's listen to an example of,
I think we, do we have Copland up next?

Okay, let's listen to an example
of a pretty simple modulation

affected by Aaron Copland,
American composer.

Working in New York City in the 40's,
50's, 60's, and

70's wrote a ballet suite
called Appalachian Spring.

And in it he has one section where he's
working through a series of variations on

a folk tune called A Gift to be Simple.

As he proceeds and I'll try to duplicate,

and go crazy up here at the piano at
the moment we get to the modulation.

Modulations are hard to hear,
modulations are hard to hear.

The only thing the best you can do with
it often times it's a, this is unsettled,

maybe it's modulating.

And I'm not even sure we would
ask you has the piece modulated.

They're really kind of hard to hear,
but let's try, anyway.

So here's a Copland modulation.

[MUSIC]

So here he is in this key.

[MUSIC]

Pause it right there.

I think this is where
the modulation comes,

then he's gonna bring in the sitting on
this note, he brings in the trombone.

And then the trumpet
will jump off from there.

[MUSIC]

To a much higher, he was here.

And then it's modulated up to here.

So let's see if we can
hear this modulation now.

[MUSIC]

Here we go.
[MUSIC] I'm gonna pause it there.

So that's a modulation.

Conceptually, it's pretty straight
forward, but it's hard to hear.

I think i've got one
that's easier to hear.

It's a piece I like to use
because it's just off the charts,

in terms of what other popular
music was doing at that time.

It's a piece by the Beach Boys.

Beach Boys music is extremely interesting.

Anything that California hear heads,
no, no, no.

This is really, musically,
just light years ahead of

what everybody else was doing in the,
I guess, late 50's and early 60's.

So what I've got here on
the board is a harmonic scheme.

And we're gonna, once again, for copyright
reasons, just take little chunks of this.

But you can see that it's a piece
that changes, uses a lot of triads.

So every time you see a G up here that
means we have a chord built on G, and

a triad on E, triad on A,
triad on F, D, E.

And just looking at this,
this isn't shaping out to be 1451.

So it's moving around a lot.

Then it gets to a section
where it does get very boring.

It's very static at that particular point.

And then something of
interest will happen.

So let's listen to a little bit of this.

It's a piece in which there are contrasts
between sections of movement.

With lot wild modulations and

then sections of.

[MUSIC]

Here it gets very boring and
we are not gonna even listen to it.

It's gonna sit there babum
babum babum babum babum babum.

I'm really hip and
I'm having a great time, but

then the text comes back to I get around.

So let's, I think

that's why I've had to

parse this thing out into a Frankenstein,
but let's listen to the next thing.

I think we go back to
the idea of I Get Around.

>> I get around.
My kinda town.

Round, round, round, I get around.

I'm a real cool head.
[MUSIC]

>> More boring

stuff.

More boring stuff at this point.

But let's pick it up as we come to the end
of what I think is this boring stuff and

we'll listen to what they do there.

Go ahead.

[MUSIC]

So there sitting here,

[MUSIC]

So what kind of cadence
have they given us there?

Deceptive cadence, deceptive cadence and

that takes it up a half step,
and then it jumps.

[MUSIC]

As mentioned in class video, when we
listen to music, usually we hear or

sense that the music is modulating
to an new key or a new tonality.

We don't usually know
where it's modulating to.

When I listen to music,
I often say oh, yes it's modulated.

But where it's modulated
to I have no idea.

To be able to say,

oh well it's modulated from F major
to A major you have to have what?

You'd have to have perfect pitch,
or absolute pitch.

Well, only one person in
approximately 10,000 has that.

So for the rest of us the best we
can say is, hey, the tonality or

key center has changed.

We've modulated.