Chapter 19 – Tonicization and Modulation Website Exercise

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Chapter 19 – Tonicization and Modulation Website Exercise

Chapter 19: Website Exercise Solutions 1 Website Exercise Solutions Chapter 19 – Tonicization and Modulation Exercise 1: Analysis of Modulating Excerpts. Each of the examples below modulates to a closely related key. Deter- mine the new key in relation to the beginning tonic (e.g., an example that begins in C major and modulates to G major would be labeled “V”). Label the pivot chord, then analyze the remaining chords in each example. A. Mozart, Violin Sonata in Eb major, K. 10 B. Mozart, Violin Sonata in A major, K. 305 C. Mozart, Violin Sonata in in C major, K. 14 2 Chapter 19: Website Exercise Solutions Exercise 1: Analysis of Modulating Excerpts. Cont’d D. Mozart, Violin Sonata in Eb major, K. 481 E. Mozart, Violin Sonata in Bb major, K. 10 Chapter 19: Website Exercise Solutions 3 Exercise 1: Analysis of Modulating Excerpts. Cont’d F. Schubert, “Ständchen” from Schwanengesang, D. 957 G. Handel, Concerto Grosso, Op. 6, no. 11 4 Chapter 19: Website Exercise Solutions Exercise 1: Analysis of Modulating Excerpts. Cont’d H. I. J. Exercise 2: Figured Bass and Tonicized Areas. Label the harmonies by studying the bass and figures; the appearance of chromaticism in the figures and the bass will help you. 1. Bracket each tonicized area and represent its relation to the main tonic by using a roman numeral. 2. Add upper voices and a first-level roman numeral analysis that relates each of the chords within a tonicization to the expanded harmony. Chapter 19: Website Exercise Solutions 5 Exercise 3: Figured Bass. Add upper voices to the figured bass below, which modulates by sequence. Exercise 4: Figured Bass. Add upper voices to the figured bass below, which modulates by sequence. Exercise 5: Analysis of Modulating Sequences. Determine the tonal destination and the sequence type used to modu- late. A. Handel, Concerto Grosso in F major, Op. 6, no. 2.

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On Modulation —
— On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com.
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