Outworld

This song starts in B major with a ii-V-I-IV progression.  It slides into Db major at around 0:42, but it is extremely subtle and I almost guarantee you won't notice right away unless you are actively comparing both tonic notes on a piano when it does, part of the reason for this is that it actually starts to modulate mid-progression, that progression starts in B Major for the first two chords and then shifts in Db Major half-way through and the next progression is a strong Db Major progression, identical to the first B Major progression of ii-V-I-IV (same shape, different color, right?)  The "transition" progression is a I-IV-iii-VI in B, the sixth is major, part of the reason that the tonic shifts, and also the iii in B is the ii in Db.  So really, the first two chords (B and E) are found only in B Major.  The third chord is shared and the fourth chord is found only in Db Major, it also happens to be the dominant 5th in Db Major (Ab, enharmonic to the G#, cool.)  If you don't believe me, listen to the B note that's held right around 0:42.  The key is still in B Major when the note is first played, but I'm convinced the shift starts right away once the shared chord takes hold.  Very, very weird.  You can hear the tone of the B as it's held, it goes from sweet tonicity to dissonance as it is no longer in the new key, Db Major.  There is no “dissonance” heard in the B note when I play the same recording of it by itself in my DAW!!  If you still don't believe the modulation starts that quickly grab a piano and play the middle B and the Db in the 2nd octave over and over again during this progression.  You will hear the shift right around 0:42, almost exactly at the shared chord.  This is one of my favorite modulations ever, I even fooled myself on this one at first, until I play an arpeggiated Ebm at the same time as an Ebmaj (sort of) and right after an E in the next example!

Another cool listen of the same modulation comes later.  Same progression and B again melts into Db seemingly before it should.  Maybe the reason for the weirdness going on here is partly that I play an ambiguous D# arpeggio (actually Eb by this time)ambiguous due to the fact there is no 3rd played, just 1st and 5th.  It's behind this progression and kind of fits and kind of messes with your ears a little.  This other modulation from B to Db comes at 2:55 which is after a stint in C Major that starts at 1:24, an abrupt and obvious, but very cool sounding key change.  C goes a half step back down to B at 2:30 where we also start to hear the sound of arps that lead back into Db.  The B to Db at 2:55 is hastened by an arp that I play to end the stretch of arps in B major (C#, B, and E.) The last arp I play Ebm, right after an E when we were still in B major.  So this time the modulation is much more obvious.  Again, I believe the Eb and Bb notes played in the background have something to do with all the weirdness.  The modulation became more obvious after I messed with the bass line. I play 3 identical tracks of bass in this song, for added fullness, except for in this section.  During the Ebm arp I play one track of bass in E and the other two Ebm, just like the lead guitar.  Listen for the dissonance in the bass at 2:55, it isn't obvious because we're undergoing the modulation at the same time, but it does actually enhance the obviousness of the key change.  Also worth mentioning before I run out of room is the change back into B from C again, later in the song at 4:10, but only for about 8 seconds, because this time I'm using the "transition" progression instead of the ii-V-I-IV , so we are really only in B for about 4 bars, then it shifts back to Db, very subtly again.

Can you tell I am fascinated by modulation?  It shows the foundational pattern of all music (the major scale as it's built off each tone) and how instinctively we can hear this pattern.  And so quickly too; it's so damn cool.  And so damn fun to compose.  Thanks for reading!!!

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