Beruflich Dokumente
Kultur Dokumente
©2011 m.mermikides@surrey.co.uk
Identifying a Modulation
First of all, how can we identify that a modulation occurs at all. Why isn’t a
secondary dominant, or minor key borrowing considered a modulation?
There is no perfectly clear methodology, and there is certainly room for
subjectivity but here are some good indicators.
Key relations
Once all the modulations have been identified, it is instructive to see how and
when they occur in terms of form. For example does the modulation occur
towards the end of the track as a ‘lift’? (E.g. Son of A Preacher Man, My Girl
Bold as Love etc.) Or perhaps an end section contains many incremental
modulations.
Often modulations appear as part of the form and the original key is revisited,
like the Bridge of a jazz tune for example (So What, What’s New, I’m Through
With Love and hundreds of other examples). Alternatively the modulated
section can be a ‘one-off’ like the saxophone solo in Respect for example.
Is the modulation ‘prepared’ in any way. This might involve using chords that
are related to the two key centres during modulation, or a prepared ii-V7 into
the new section. On the other hand is the modulation direct, ‘unprepared’
and/or unrelated to the original key?
Modulations can occur on multiple levels. That is, a section may contain
modulations and then this whole section can be modulated. Some examples
are provided below.
Some Examples
All these considerations will give a much clearer method for analyzing,
assimilating and creating modulations. Here are a couple of quick examples:
My Girl – The Temptations. This tune is in the key of C major. About 5/8
through the tune a very simply dominant gesture modulates the chorus up a
major 2nd to D major.
Bold as Love - Jimi Hendrix. The tune is in A major, and after the final chorus
there is a guitar solo over the chorus chords. After a drum break the solo
continues over the same chords, but transposed up a major 3rd to C#major,
and fades out on this section.
What’s New – Jazz standard. The structure is a repeating AABA form. The A
sections are in C and the B section is in F, and contains very similar melody
and harmony to the A section but is simply transposed up a 4th. This
modulation (and modulation back) is prepared with a cadence, and sounds
very natural as F major is a diatonic chord in C major.
Fever – This has a simple chord sequence that is often performed with
several on cue unprepared transpositions up a semitone.
All The Things You Are – The form is AA1 BA2 The A section starts in A-flat
and modulates up to C major. Then this entire sequence is transposed –
without preparation- up a 5th to Eb – and then to G major. The B section
starts in G major and then modulates without preparation to Emajor. The
final section is similar to the first, but it remains, after an extended ending in
the key of A-flat. So there are 5 major key areas. Ab, C, Eb, G, E. Notice how
they are each of these key areas has another key a major 3rd away. And the
shift up a major 3rd in the A sections, is mirrored in the modulation from E to
A-flat out of the bridge to the last A.
Find some examples (there are countless out there) and see if you can
identify these characteristics, as well as the musical effect they create.