Beruflich Dokumente
Kultur Dokumente
Read Pg. 277! Answers: Pg. 278
All modulations are divided in to two (three) categories: common chord, chromatic, (and direct/sectional).
Commonchord is a chord that is diatonic to both the original key and target key. It usually precedes the
chord that is no longer diatonic to the original key, which would be the secondary dominant.
Ex. 171 (ac), examine c.
The commonchord application utilizes a diatonic chord of the original key that often serves as a diatonic
predominant of the target key, ex. vi = ii/V. In some cases, the common chord will not serve as a
predominant, but will be common in both the original key and the target key.
Read pg. 281 Crossing the Tonal Border. “This is one of the most efficient of all modulations because
tonalities are so quickly established through the threechord progression” PD – D – T. However, other
common chords may also serve this application. Ex. 172 compare to 173, one commonchord or
multiple commonchords. Typically, analysis will label the commonchord just prior to the
chromatic/secondary chord, rather than a succession of others.
The commonchord application is the most utilized modulatory process for moving to closely related keys, or
diatonic related keys; that is tonal centers that differ by one key signature or less: tonic and its relative minor,
subdominant and its relative minor, dominant and its relative minor. Note that minor keys use the minor
dominant as a modulating target.
Not all predominants of closely related keys are common chords. For example, C Major modulating to F
Major, using a PD – D – Tonic process, where ii and IV in F Major are g minor and Bb Major they are not
common chords with C Major.
A chromatic modulation, less prevalent, is one that does not utilize a commonchord. It is usually
recognized by chromatic voiceleading, in the same voice ex, F – F#. However, the chromaticism may take
place in more than one part, sometimes via chromatic 2nds, ex. C# – Bb (keep reading below).
Typically, a chromatic modulation involves a chord that is diatonic only in the original key, followed by a
chord that is diatonic only in the target key. BUT, sometimes a chord that is not diatonic to either keys will
facilitate the modulation.
A chromatic raised pitch usually functions as a secondary L.T. While a chromatic lowered pitch usually
functions as a secondary scale degree 4 “fa” of the new key or b6 “le” of the new key, which would resolve
down to scale degree 3 or 5 in the new key. Ex. 177 and 178.
Chromatic modulations may also be used to target diatonic related keys. However, they are also used to
modulate to foreign key areas, that is keys that differ by 2 key signatures or more from the original. Chord to
chord, a chromatic modulation evolves with a chord that functions only in the old key followed by a chord
that functions only in the target key. Although in some cases, there is a bridge chord(s) that does not
function in either the old key or target key. Ex. 179a, 179b (17a is a direct modulation). Direct/sectional
modulations do not utilize a secondary dominant targeting a secondary tonic, and therfore sound abrupt.
The further removed from the tonal center you get, the more accidentals it will necessitate to maintain a new
key area. When dealing with multiple accidentals, a possible helpful strategy is to assess the furthest
accidental away from the original key signature as either the new leading tone (raised pitch) or scale degree 4
(lowered pitch).
Consider if in the key of C, infused with F#, C#, and G# (furthest away), G# is probably the leading
tone of A major. C Major infused with Bb and Eb, Eb is probably scale degree 4 of Bb Major.
Most commonpractice period compositions include several modulations. Usually there is no change of key
signature unless the key remains in effect for a substantial length of time. The following guidelines will help
to distinguish and discover the differences between tonicizations and modulations.
A Single secondary function does not establish a new tonal center.
The consistent appearance of accidentals over the course of several measures may indicate a
modulation took place.
A cadence(s) will strengthen a new tonal center and the feeling of a modulation.
The most convincing modulations often contain a tonicization of the dominant in the new key.
Tonicizations are momentary modulations, and modulations are extended tonicizations.
Moving from key to parallel key (ex. CMaj > cmin) is not a modulation, but a change of mode.
Homework: Pg. 198 1A. #15, Pg. 199 1B. #15, 1C. #1 together, Pg. 200 1D. together, Pg. 202 #2A. #1
5, Pg. 204 2C. #12, Pg. 209 2G. #3, Pg. 210 2H.