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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 1 10/16/17 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 3 10/16/17 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. 4 10/16/17 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. LessThe 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.
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