THEORY II Unit 2: Modulations Dr
10/16/17
THEORY II Unit 2: Modulations Dr. Kevin Olson Utah State University
Lady Madonna (1968) Lennon/McCartney
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Lady Madonna (1968) Lennon/McCartney
Penny Lane (1967) Lennon/McCartney
2 10/16/17
Penny Lane (1967) Lennon/McCartney
Here, There And Everywhere (1966) Lennon/McCartney
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LearnMusicTheory.net Key Relationships3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major
2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor
3. Relative Keys LearnMusicTheory.net Relative keys share a key signature3.3, but Types have differentof Key Relationshipstonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys E minor is the relative minor of G major. EnharmonicG major keys are spelledE minor differently but sound the same, just like enharmonic notes. 4. Closely-related Keys= C# major Db major Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. 2. Parallel Keys Parallel keys share a tonic, but have different key signatures .Given One will key: be minor and one major. D major, 2 #s D minor is the parallel minor of D major. D major DOne minor less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one3. sharp/flat, Relative Keysand takeRelative the relative keys share a key signature, but have different tonics. One will be minor and one major. keysRemember: (minor/major) Relatives G"look major alike" at a familyE minor reunion, andB minor relative keys "lookA majoralike" in their signatures!F# minor (also relative to D major) OR E minor is the relative minor of G major. KeyMETHODG major Relationships2: E minor Take all the major and minor triads in the4. given Closely-related key (only) Keys D major E minor F# minor G major A major B minor X as Anytonic key chords will have 5 closely-related keys. A closely-related key is a key that differs from a given key (C# diminished forby other at most keys. one sharp or flat. There are two easy ways to find closely related keys, as shownis below. not a key!)
5. Foreign Keys (or Distantly-related Keys) Given key: A foreign key is any key that is not enharmonic, parallel, relative,D major, or2 # closely-related.s Below is one of many possible examples. One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract E minor is the foreign to Bb major. one sharp/flat, and Bb major E minor take the relative keys (minor/major) G major E minor B minor A major F# minor Copyright © 2010 by Mark Feezell.(also relativeAll Rights Reserved. OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related. Below is one of many possible examples. E minor is the foreign to Bb major. Bb major E minor
Copyright © 2010 by Mark Feezell. All Rights Reserved.
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LearnMusicTheory.net 3.4 Modulation Modulation = changing to a new tonal center (a new tonic) for more than a few chords, often with a cadence. Most modulations are to closely-related keys (see 3.3 Types of Key Relationships). Key Relationships There are the three very common types of modulations and some less common types. 1. Common Chord (or Pivot Chord) Modulation - The most basic modulation uses a chord shared by two keys as a "pivot" to the second key. Assignment 15.1 Name- theThe fipivot ve closely chord will related function keys in bothto the the given old key key. and the new key simultaneously. - The roman numeral analysis indicates this by using 2 roman numerals for the pivot chord (see below). pivot 1. (Ex.) G major (G) C D e a b
2. F minor (f) 3. E major (E ) b b g: V i VI iv i VI ii cad6$ V7 I 4. E minor (e) Bb: IV (analysis V continues in Bb) 5. A major (A) 2. Altered Chord as Common Chord Modulation Sometimes the only chord in common is a chromatically-altered chord such as a secondary dominant. 6. In theC example minor below, (cd minor) in m. 3 cannot be the common chord because it isn't part of G major. The pivot# chord is really #the D7 chord on beat 2 of m. 3, as shown in the analysis.
pivot 7. G major (G ) b b 8. B minor (b ) b b 9. B major (B) C: I ii V I ii6 V6%/V I vi ii6 V7 I (analysis continues in G) 10. D# minor (d#) G: V6% 3. Common Tone Modulation - In a common tone modulation, one tone is common to both keys. - Often the common tone is repeated by itself before the key change. - Because chromatic mediants share a single tone, it is common to use them for common-tone modulations (see 3.12 Mediant Relationships). Assignment 15.2 The following phrases in four-part harmony illustrate two types of modulation. 1. Analyze each chord. Modulations 2. Since each setG major... modulates, indicate the...common following: tone stated alone... Bb major... a. Less The Commontype of modulation Modulation Types Modulation: 4. Sequential modulation changing, in which to a a new phrase tonal is repeated center in a different (a new key, tonic)often up afor step. more 5. (1) Direct Common modulation chord / phrase modulation, in which the key changes abruptly after a cadence w/ no common chord. than 6. (2) Monophonic a Chromatic few chords, modulation often, in which with the akey cadence changes by introducing accidentals to an unaccompanied melody. 7. Enharmonic modulation, a rare type described on 3.9 Enharmonic Reinterpretation. b. If the modulation is of the common-chord type, circle the common (pivot) chord, Analyzing Modulations LearnMusicTheory.net and be sure to analyze it in both keys. 3.4 Modulation 1. Find the first chord that doesn't work in the old key. c.Modulation 2. If Back it is upa chromatic one= changing chord. modulation,to a new tonal centerindicate (a newthe tonicnew) keyfor more and thancontinue a few analyzingchords, often in with the a cadence. 3. new See key. whether Most that finalmodulations chord before are to the closely-related new key works keys as a(see common 3.3 Types chord. of Key Relationships). There are the threeCopyright very ©common 2010 by types Mark of Feezell. modulations All Rights and someReserved. less common types. 3. Circle1. Common and label Chord each (ornonharmonic Pivot Chord) tone. Modulation - The most basic modulation uses a chord shared by two keys as a "pivot" to the second key. - The pivot chord will function in both the old key and the new key simultaneously. For common chord modulations: - The roman numeral analysis indicatesFor chromatic this by using modulations: 2 roman numerals for the pivot chord (see below). pivot U U œ œ œ ˙. & œ œ œ# œ ˙. & œ œ œ ˙. ˙. œ œ œ œœ ˙. œ ˙. g: V i VI iv i VI ? œ ? œ ii cad6$ V7 I œ œ Bb: IV œœ# ˙. ˙. (analysis V C: ii6 I C: ii66 Id: V i continues in Bb) G: IV V7 2. AlteredI Chord as Common Chord Modulation Sometimes the only chord in common is a chromatically-altered chord such as a secondary dominant. In the example below, d minor in m. 3 cannot be the common chord because it isn't part of G major. The pivot chord is really the D7 chord on beat 2 of m. 3, as shown in the analysis.
pivot CHAPTER 15 Modulation 325 5 3711_ben01877_Ch15pp315-336.indd325 325 C: I ii V I ii6 V6%/V I vi ii6 V7 I 4/10/08 4:13:28 PM G: V6% (analysis continues in G) 3. Common Tone Modulation - In a common tone modulation, one tone is common to both keys. - Often the common tone is repeated by itself before the key change. - Because chromatic mediants share a single tone, it is common to use them for common-tone modulations (see 3.12 Mediant Relationships). G major...... common tone stated alone... Bb major... Less Common Modulation Types 4. Sequential modulation, in which a phrase is repeated in a different key, often up a step. 5. Direct modulation / phrase modulation, in which the key changes abruptly after a cadence w/ no common chord. 6. Monophonic modulation, in which the key changes by introducing accidentals to an unaccompanied melody. 7. Enharmonic modulation, a rare type described on 3.9 Enharmonic Reinterpretation. Analyzing Modulations 1. Find the first chord that doesn't work in the old key. 2. Back up one chord. 3. See whether that final chord before the new key works as a common chord. Copyright © 2010 by Mark Feezell. All Rights Reserved. 10/16/17
Modulations Direct Modulation
Modulations Direct Modulation Common Chord Modulation
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Shared Chords Between Keys
• How many chords does C Major share with its relative key?
• How many chords does C Major share with its parallel key?
• How many chords does C Major share with other closely-related keys?
• How many chords does C Major share with a foreign key (such as F# Major?)
Due 10/10
7 10/16/17
Class Quartets (Nov. 5)
Section 1: Section 2: Laurana, violin Aubree, violin Jessica, oboe Olivia, violin Erick/Aaron, trombone Patrik, viola Rachel, cello Nathan, cello
String Quartet No. 3, Op. 18 No. 3 Allegro III. Allegro Violin I p Violin II p Viola p A modulation Violoncello p consists of three 9 parts: (1) a tonality is confirmed, (2) pp the tonal center pp changes, (3) a new tonality is pp confirmed by a pp 18 cadence in that tonality. The new sf sf sf sf cresc. p key must be stated sf sf sf sf cresc. p sufficiently enough for the modulation sf sf sf sf cresc. p to occur. sf sf sf sf cresc. p
29 p 8 p 10/16/17
Pivot Chord Practice
A modulation consists of three parts: (1) a tonality is confirmed, (2) the tonal center changes, (3) a new tonality is confirmed by a cadence in that tonality. The new key must be stated sufficiently enough for the modulation to occur.
Assignment 15.3 Each exercise is a chorale phrase as harmonized by Bach. Before completing the harmoni- Assignment 15.3 zationsEach exerciseon paper, is a playchorale them phrase on as the harmonized piano, adding by Bach. the Before alto completing and tenor the voices. harmoni- Be sure to read thezations fi gured-bass on paper, symbols play them accurately.on the piano, adding the alto and tenor voices. Be sure to read the After fi gured-bass you have symbols completed accurately. the keyboard portion of the assignment, write out the harmo- Analysis After you have completed Practice the keyboard portion of the assignment, write out the harmo- nizationsnizations on on paper:paper: Assignment 15.8 1. 1. AddEach Add theexercise the alto alto isand a fi tenor gured-basstenor using using voicevoice. voice leading leading that conforms that conforms to recommended to recommended practice. practice. 2. 2. Analyze 1. Analyze On a separate each each chordchord sheet and of and staff indicate indicate paper, the write point the out pointof modulationeach of fi modulationgured with bass, the leaving new with key athe linename. new above key for name. the soprano and alto. 1. 2. “Freu’ Be sure dich to analyzesehr, o meine the fi gured Seele” bass (“Rejoice so you Greatly,know what O My notes Soul”), are possible BWV 194, in the mm. soprano. 1–2 1. “Freu’(modifi dich ed). sehr, o meine Seele” (“Rejoice Greatly, O My Soul”), BWV 194, mm. 1–2 (modifi 3. Complete ed). the soprano fi rst, then the two inner voices (alto and tenor). 4. Be sure to observe acceptable voice-leading practices described in previous chapters. 5. To help in writing the soprano melody: U # c œ a.& Sketch# inœ the entireœ soprano melody,œ making sureœ that theœ pitchesœ you selectœ are part U of thec supporting harmony. œ &b. Write oneœ soprano noteœ for each bass note.œ These are toœ be choraleœ melodies. œ œ œ c.? As# youc write,œ continuallyœ check to see whether your melodyœ has a recognizableœ con- tour—usually with two orœ three defiœ nite directions.œ If you fi ndœ you have four or more, youœ should make some revisions.# 6 # ?d. Look#G:c at theI soprano melodies in assignment 15.6. Use them as models.œ œ œ œ œ œ œ # 6 # 2.1. “WennBegins meinin F major:Stündlein vorhanden ist” (“When My Brief Hour Is Come”), BWV 429, mm.G: 1–2 (modifiI ed). œ œ U ? b c œ œ œ œ œ œ F: 6 6 2. “Wenn# mein# Stündlein vorhanden ist” (“When My Brief Hourn Is UCome”), BWV 429, mm.& 1–2# (modific œ ed). œ œ œ œ œ œ 2. Begins in E minor:œ œ œ U ?#? #3#œ œœ œœ œ# œ œ ˙. U # 4## c œ œœ# œ œ œœ œ e: # c œ6 66666 œ66 œ# œ œ œ œ & œ œ œ œ 6 # 9 A: I 3. Begins in E minor:œ 3.? “Keinen# # hat Gottœ verlassen” œ(“God Hathœ Forsakenœ No One”), BWV 369, mm.U 1–2 ?#(modifi#c ed).c œ œ œ œ œ œ œ œ œ 666 œ 6 e: 6 6 œ œ# œ # n U 6 A:# I œ œ 4. Begins& cin Gœ major: œœœ œ œ 3. “Keinen?# hatœ Gott verlassen”œ œ (“God Hath Forsaken No One”), BWVU 369, mm. 1–2 (modifi ed).c œ œ œ# œ œ œ ?G:# 63 6 œ 6 7 c œ œ# 3 œ 6 5œ œœ 6 66 7# œ 5 e: i U 5. Begins# in F major: œ œ œ & c œ œœœ U œ ? c œ œ œ œ œb œ CHAPTERb 15 Modulation œ 327 F: œ œ 66 ? # c œ œ# œ œ œ œœ 6 66 7 œ 5 3711_ben01877_Ch15pp315-336.indd327 327 4/10/08 4:13:29 PM CHAPTERe: 15 i Modulation 333
CHAPTER 15 Modulation 327
3711_ben01877_Ch15pp315-336.indd333 333 4/10/08 4:13:35 PM
3711_ben01877_Ch15pp315-336.indd327 327 4/10/08 4:13:29 PM 10/16/17
Due 10/12
LearnMusicTheory.net 3.4 Modulation Modulation = changing to a new tonal center (a new tonic) for more than a few chords, often with a cadence. Most modulations are to closely-related keys (see 3.3 Types of Key Relationships). There are the three very common types of modulations and some less common types. 1. Common Chord (or Pivot Chord) Modulation - The most basic modulation uses a chord shared by two keys as a "pivot" to the second key. - The pivot chord will function in both the old key and the new key simultaneously. - The roman numeral analysis indicates this by using 2 roman numerals for the pivot chord (see below). pivot
Modulations g: V i VI iv i VI Modulation: changing to a new tonal centerii (acad6$ new V7tonic) Ifor more than a few chords, often with a cadenceBb: IV (analysis V continues in Bb) 2. Altered Chord as Common Chord Modulation Sometimes the only chord in common is a chromatically-altered chord such as a secondary dominant. In the example below, d minor in m. 3 cannot be the common chord because it isn't part of G major. The pivot chord is really the D7 chord on beat 2 of m. 3, as shown in the analysis.
pivot
C: I ii V I ii6 V6%/V I vi ii6 V7 I G: V6% (analysis continues in G) 3. Common Tone Modulation - In a common tone modulation, one tone is common to both keys. - Often the common tone is repeated by itself before the key change. - Because chromatic mediants share a single tone, it is common to use them for common-tone modulations (see 3.12 Mediant Relationships). G major...... common tone stated alone... Bb major... Less Common Modulation Types 4. Sequential modulation, in which a phrase is repeated in a different key, often up a step. 5. Direct modulation / phrase modulation, in which the key changes abruptly after a cadence w/ no common chord. 6. Monophonic modulation, in which the key changes by introducing accidentals to an unaccompanied melody. 7. Enharmonic modulation, a rare type described on 3.9 Enharmonic Reinterpretation. 10 Analyzing Modulations 1. Find the first chord that doesn't work in the old key. 2. Back up one chord. 3. See whether that final chord before the new key works as a common chord. Copyright © 2010 by Mark Feezell. All Rights Reserved. LearnMusicTheory.net 3.4 Modulation Modulation = changing to a new tonal center (a new tonic) for more than a few chords, often with a cadence. Most modulations are to closely-related keys (see 3.3 Types of Key Relationships). There are the three very common types of modulations and some less common types. 1. Common Chord (or Pivot Chord) Modulation - The most basic modulation uses a chord shared by two keys as a "pivot" to the second key. - The pivot chord will function in both the old key and the new key simultaneously. - The roman numeral analysis indicates this by using 2 roman numerals for the pivot chord (see below). pivot g: V i VI iv i VI ii cad6$ V7 I Bb: IV 10/16/17 (analysis V continues in Bb) 2. Altered Chord as Common Chord Modulation Sometimes the only chord in common is a chromatically-altered chord such as a secondary dominant. In the example below, d minor in m. 3 cannot be the common chord because it isn't part of G major. The pivot chord is really the D7 chord on beat 2 of m. 3, as shown in the analysis.
pivot
Modulations Modulation: changing to a new tonal center (a new tonic) for more than a fewC: I chords,ii V oftenI withii6 aV6%/V cadenceI vi ii6 V7 I G: V6% (analysis continues in G) 3. Common Tone Modulation - In a common tone modulation, one tone is common to both keys. - Often the common tone is repeated by itself before the key change. - Because chromatic mediants share a single tone, it is common to use them for common-tone modulations (see 3.12 Mediant Relationships). G major...... common tone stated alone... Bb major... Less Common Modulation Types 4. Sequential modulation, in which a phrase is repeated in a different key, often up a step. 5. Direct modulation / phrase modulation, in which the key changes abruptly after a cadence w/ no common chord. 6. Monophonic modulation, in which the key changes by introducing accidentals to an unaccompanied melody. 7. Enharmonic modulation, a rare type described on 3.9 Enharmonic Reinterpretation. Analyzing Modulations 1. Find the first chord that doesn't work in the old key. 2. Back up one chord. 3. See whether that final chord before the new key works as a common chord. 4. HowCopyright to spot a modulation: © 2010 by Mark Feezell. All Rights Reserved. a. By all means, play the music you are analyzing. Sometimes this is suffi cient in itself to recognize modulation. b. Look for accidentals or pitches that are not part of the established key. c. Look for a cadence in a new key. If it can be analyzed as V–I, I–V, IV–V, or some other recognized cadence in a different key, then trace back to the point of modula- tion and analyze in the new key from that point on. d. After you have found enough evidence to support a new key, look back to the fi rst oc- currence of a nondiatonic note (one that is not a scale tone in the established key) and determine whether the chord preceding it could be analyzed in both keys (the estab- lished and the new key). If so, you have discovered a common-chord modulation. e. If the fi rst nondiatonic note is taken chromatically (has the same letter name but dif- Modulation ferentPractice pitch in the preceding chord), the modulation is chromatic. 1. Modulation type? ______2. Modulation type? ______
# U # U # c œ œœœœœ œ œœœ œ œ c œ œœœœœœ œ ˙ & œ œ œ œ# œ œ œ# ˙. œœœœ œ œ œ œ œ œœœœœ ˙. ? # œ œœ# œ œ œ œ # œ œœn œ œ # c œ œ c œ ˙.
3. Modulation type? ______4. Modulation type? ______U U # œ bbb c œ œ ˙ c œ œ œ œ œ# ˙ & œ œ œœœ bœœ œ ˙ œ œœœ œœ˙ ? œœœœœ œ œ œ ˙ # œ œ œ œ œ œ˙ bbb c œ œ œb c œ# œ ˙
5. Modulation type? ______6. Modulation type? ______
# # U U # c œ œ œ œ œ bbb c œœ œ œ œœœ & œ œ œœ œ œ# œ ˙ œ œœ œ œœœ œn œ œ œœœ œœœ œ œ ˙ œ œ œœœ œ ? # # c œ ˙ b c œ œ œ œ œœn œ œ # œ œ œ œ œ b b œ œ
326 PART B The Structural Elements of Music 11
3711_ben01877_Ch15pp315-336.indd326 326 4/10/08 4:13:29 PM 10/16/17
Modulations (3) Phrase - A key change occurs betweenLearnMusicTheory.net two adjacent phrases. 3.4 Modulation PAC PAC Modulation = changing to a new tonal center (a new tonic) for more than a few chords, often with a cadence. Most modulations are to closely-related keys (see 3.3 Types of Key Relationships). There are the three very common types of modulations and some less common types. 1. Common Chord (or Pivot Chord) Modulation - The most basic modulation uses a chord shared by two keys as a "pivot" to the second key. - The pivot chord will function in both the old key and the new key simultaneously. - The roman numeral analysis indicates this by using 2 roman numerals for the pivot chord (see below). pivot C: I VQ I ii V V7 I a: V7 i iv V7 i
Rondo Alla Turca (4) Common tone - A common note is used to create a link between two keys. Turkish March common tone W. A. Mozart Allegretto 4 2 4 4 1 4 4 ( 3 3 1 ! ! ! # !# # ! !# !! ! ! "! ! ! ! ! ! % 2 ! ! "! ! !!& ! ! & "! g: V 4i VI )5 iv i )VI p !# !# !# !# !# ii !# cad6$ !# V7 !# I !# !# !# ! ! ! ! Bb:! IV! ! ! !# ! !# ! ! ! ! ! $ 2 ' (analysis V ! 4 C: I V I continuesAb: I in BV7b) I 2. Altered(5) Enharmonic Chord as - CommonA type of pivot Chord chord Modulation modulation where the pivot chord is enharmonically reinterpreted as a4 chord belonging4 to the new key. The most frequent3 possibilities4 consist of either Sometimes the only chord2 in common2 is a chromatically-altered4 4 chord3 such as4 a secondary dominant. 2 1 1 In thethe example V7 reinterpreted5 ! below,#( d asminor a G+6, in#( m. a 3G+6 cannot reinterpreted be#( the common as a V7, chord or abecause viiº7 reinterpreted it isn't part( ofwith G major.any one ! ! ! "!# !# !# !!! ! "!# !# !# ! ! "!# !# !# , # +!# !# !# ! ! ! # +!# Theof pivot its notes chord becoming is really! the the D7 leading-tone chord! on beat of the 2 of new m.! " key.3,! as! Theshown* chord* ! +in! the involving! analysis.! the !enharmonic! !+ ! reinterpretation% may be spelled as it would appear in the new* * key or the old. !
pivot 2 !# !# !# !# !# !# !# mp # !# ( ( ( # ! (a) (b) (c) (d) $ # (F#=Gb)! ! ! # ! ! !(Gb=F#)# ! ! , # ! ! ! ! ! !# ! * * ' !# ! '
4 4 3 4 4 2 3 1 4 2 11 , 1 ( !# !# ! ! ! ( # # !# ! # # # # ! ! ! ! !# ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! C:% I ii V I ii6 V6%/V I "! !vi ii6 c:viiº7V7 I "! ! c: iiºQ Gr+6 # I Db: I V7 iP V i 2 c: i Eb: viiºS i iP(, p i6 i # ! # (analysis continues inGb: G) viiºR # Db:! V7 c: GG:r+! # 6V6% ! !# ! ! $ # !# ! ' # ! ' a: viiº# Q ! ' 3. CommonNotice that Tone if! a G+6 Modulation is involved, the new!# key! will be a half-step relation!# to! the original key. If a V7 - In a common tone modulation, one tone is common to both keys. is reinterpreted as a G+6 the new key will be one half-step lower than the original. However, if a G+6- Often is reinterpreted the common as tone a V7 is therepeated new key by itselfwill be before one half-stepthe key change. higher than the original. Modulations- Because chromatic mediants share a single tone, it is common to use them for 2 1 common-tone modulations (see 3.12 Mediant Relationships). ( 2 4 2 (6) Implied17 - The notes of an unaccompanied melody may! suggest# a !modulation.# # # ! ! !"! ! ! ! ! ! !# ! ! !# "!# !# # !# # !# & ! ! ! ! ! & !"! ! ! ! Modulation: % changing) to a newcresc. tonal center (a new tonic) for more ) fz p !# !# !# !# !# !# !# !# # # # !# than aG few major...! chords,! ! ! ! often! ! ...common !with!# a! tone cadence!# stated! alone..."! ! ! B!b major...!# !# !# " $ ! !# +!# ! !# ! !# ! Less CommonC: Modulation Types G: V I 4. Sequential modulation, in which a phrase is repeated in a different key, often up a step. 5. Direct modulation / phrase modulation, in which the key changes abruptly after a cadence w/ no common chord. 2 6. Monophonic23 modulation- , in which the key changes, by introducing( accidentals to an unaccompanied melody. # !# !( # !# !# !# # # !# 7. Enharmonic modulation, , a rare type" "described! on 3.9 Enharmonic! Reinterpretation! !# !# !.# ! % ! !* ! ! ! * * " ! ! ! ! ! ! ! ! ! ! ! ! 1 2 , ! Analyzing Modulations4 4 # # # # , f #( # # # #( # # # ( ( 1. Find the first$ chord! ! " !that! doesn't! work* * " "in the old key.! ! ! ! ! ! ! ! ! ! # # # # 2. Back up one# chord. * * " ' ! ! ! ! ! ! ! ! "! ! ! ! ! " ! ! 3. See whether that finalMutopia chord ǀ Typesetbefore using the LilyPond new by key Rune works Zedeler and as Chrisa common Sawer — Mutopia-2015/08/13-108 chord. ǀProjectCopyright ǀ Placed in the © public 2010 domain by by Mark the typesetter Feezell. — free All to distribute, Rights modify, Reserved. and performǀ
12 10/16/17
Due 10/26
Writing Assignment #3: ( ______/ 50 points). Due 10/26 Choose a movement from a 19th-century string quartet, and write detailed program notes (between 500-800 words) that could appear on a recital program attended by both musicians and non-musicians. Some important composers of string quartets in the 1800s include Beethoven, Schubert, Brahms, You can find their scores on imslp.org. Combine an engaging historical summary of the piece, and talk in detail about the musical processes the audience will be hearing, while avoiding confusing, overly- specific terminology. The following links are recommended for doing this kind of writing:
Submit your program notes on the Assignments link on Canvas.
Due 10/17
13 10/16/17
Common-Tone Diminished Sevenths “Waltz of the Flowers”, from The Nutcracker (1892), tr. Tchaikovsky
College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell Aquila The Common-Tone Diminished Seventh Chord continued 2 of 2 Clara Wieck Schumann, Concert Variations, Op. 08, Var. 02
Common-Tone Diminished Sevenths
• has a fully diminished quality and shares one note with the chord it prolongs • a chromatic non-functional chord that serves to expand another chord • Since the common-tone diminished seventh chord has no function of its own, it is not given its own Roman numeral but instead is simply abbreviated cto7 (no inversions) • Stepwise motion in other voices
Tchaikovsky, Nutcracker Suite, “Waltz of the Flowers” (piano arrangement)
Sousa, “Semper Fidelis”
14
www.pauldellaquila.com LearnMusicTheory.net 3.8 Chromatic Harmony: Representative Examples
SECONDARY FUNCTIONS Tonicized chord can be any diatonic major or minor triad. Mm7 = "secondary dominant?"; dim triad/7th = "secondary LT?" Bb: V/ii ii e: V7 /V V D: vii˚6 /IV IV B: vii˚7 /V V d: vii¯7/VI VI
MODE MIXTURE Borrowing harmonies from the parallel major or minor key. Major V in minor is diatonic, not mode mixture! C: iv D: bIII A: bVI G: bVII Eb: ii˚ F#: vii˚7 10/16/17 NEAPOLITAN CHORDS Major triad built on b2 pitch; usually inverted; Usually leads to V or cad. 6/4; b2 note moves to LT of key; Double 3rd in 1st inversion or root in root position. b2! LT! b2! LT! b2! LT! 6 C: N6 V f#: N6 cad.4 V e: N V Diminished 5th in bass V for root position N to V. +6 CHORDS All include augmented sixth interval; usually +6 resolves to an 8ve; Commonusually both-Tone notes of the +6Diminished resolve to the 5th step of the scale Sevenths c: It+6 V c: Fr+6 V c: Ger+6 6 • has a fully diminished quality and shares one note with the cad. 4 V Notice: Achordb - C = M3 it, prolongsC - F# = A4, Ab - F# = +6; also Ab and F# each move a m2 in contrary motion. V Fr+6 adds a M2 above the "center note" of the It+6; Ger+6 adds a m3 above the "center note" of the It+6. Other,• unusuala chromatic resolutions and non voicings-functional are occasionally chord found. that serves to expand another chord V+ / AUGMENTED DOMINANT Augmented dominant chords have two tendency tones: the LT, which • Since the common-tonetends diminished to go to tonic, seventh and the #5th, chord which resolves has no up by step. function of its own, it is not given its own Roman numeral but instead is simply abbreviated cto7 (no inversions) • StepwiseA: V+ motion in other voices C: V+7 I I V+7 has 3 tendency tones. Note the LT resolving down in the inner voice in this ex. to give a complete tonic triad. COMMON-TONE DIM. 7th CHORDS The note that is held over (the "common tone") becomes the ROOT of the resolution chord. (CT can be any of 4 notes in dim7.) Root as C.T. 7th as C.T. 3rd as C.T. 5th as C.T. B: (ct˚7 ) V7 A: (ct˚7 ) I6 G: (ct˚7 ) IV6 Ab: (ct˚7 ) V6
Vsub6 CHORDS Vsub6 is an abbreviated escape tone figure (see below). Not technically a chromatic chord. Sub6 note on top normally, always resolves down a third. Pitches of III chord, but moves to V. esc. E subs. for D C: V I C: V I C: Vsub6 I Copyright © 2010 by Mark Feezell. All Rights Reserved.
Common-Tone Augmented Sixths
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Tritone Substitutions 5 Chausson, Serenade italienne, op. 2, no. 5 (1:50) 31 en ralentissant beaucoup F #### j & # œ œ n˙ œ nœ #w Que. la nuit, leœ ncielœ betœ les la - - - - - rit. en ralentissant beaucoup œ #### œ œ#œ œ‹œ œ & # œ œ œ nœnœ œ œ œ œ bœnœ œ nœ œ œ œ œ œ nœ œ œ œ nœ œ nœ nœ œ #œ#œ ? # # # ## ˙ n˙ ˙ n˙ #w
33 a tempo # ## # j ‰ Œ Ó ∑ & # - mes.˙ œ
a tempo
œ œ # œ œ œ œ œ # œ # œ # œ # #### œœ œœ œœœ œ œ # œ # œ & # m. g. œœ œœœ œ # œ œœ œœ œ œ œ œ F œ # œ # œ œ # œ ? # ## œœ œœ œœ œ # # w w w. w.
35 # # & # ## ∑ ∑ œ √ nœ œ œ nœ œ # # œ nœ œ œ & # ## nœ œ nœ œ œ Œ Ó Ó #œ œ p ? # # nœ#œ nœ # ## nwœ . œ Œ Ó Ó nw. œ
© Les Éditions Outremontaises, 2006
Examples of Common Tone Augmented 6th Chords
b Start with the tonic chord with & ˙. b b ˙. Common- the 5th of the chord doubled: ˙. ˙. ? ˙. ˙. ˙. bbb ˙. Tone C: I c: i
Augmented bb Pick one 5th of the chord, & ˙œ. #œ œ b ˙œ. #œ œ and add a neighbour, a semitone below: Sixths ? ˙. ˙. ˙. bbb ˙. I i
With the other 5th of the chord, b add a neighbour, a semitone above. & œ œ b b œ œ The interval between these two neighbours is ˙. #œ ˙. #œ an augmented 6th: ? œ bœ œ œ œ œ ˙. bbb ˙. I i
If you make the 3rd of the tonic chord minor, bb you now have a Ger 6th. (If you started with a & œ #bœœ nœ b ˙œ. #œ œ minor triad, the third is already minor, so there's nothing to adjust): ? œ bœ œ œ œ œ ˙. bbb ˙. I CTGer6 I i CTGer6 i
bbb If, instead, you lower the 3rd of the tonic chord & œ #œ œ œ #œ œ down a step to D, you get a French 6th: ? œ bœ œ œ œ œ ˙. bbb ˙. I CTFr6 I i CTFr6 i
Like the common tone diminished 7th chord, the common tone augmented 6th chord is simply an embellishing chord that arises from the use of neighbour tones.
In fact, any traditional chord can be used in a non traditional way as an embellishing chord, provided the voice leading is reasonably smooth. © 2005 David Clenman
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Due 10/24
Due 10/31
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Due 11/2
Due 11/2
Compose an original work of at least 32 measures in the Romantic style for a designated class quartet that includes four different key areas. Keep the texture simple overall, and use the following in your work: • One modulation using a pivot chord (include Roman numeral analysis in both keys at the point of modulation below that measure) • One modulation using a sequence (include the key areas underneath each sequence pattern) • One modulation using a enharmonic diminished seventh or German +6 (include Roman numeral analysis in each key underneath its measure) • One modulation using a common tone (include Roman numeral analysis in each key underneath its measure)
Create a conductor’s score using computer notation or a VERY CLEAN handwritten manuscript. Bring four copies to class, and attach another copy to this packet. Include expression, tempo, and other musical markings.
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Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation. — Charles-Henri Blainville (1711-1769)
Bonnie Tyler, “Total Eclipse of the Heart” (1983)
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