In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. Music is an Art form in which the medium is Sound organized in Time. In Music theory, the term key is used in many different and sometimes contradictory ways The tonic is the first note of a musical scale in the tonal method of Musical composition. Tonality is a system of Music in which specific hierarchical pitch relationships are based on a key "center" or tonic. This may or may not be accompanied by a change in key signature. In Musical notation, a key signature is a series of sharp or flat symbols placed on the staff, designating notes that are to be consistently Modulations articulate or create the structure or form of many pieces, as well as add interest. The term musical form refers to two related concepts the type of composition (for example a musical work can have the form of a Symphony, a Treatment of a chord as the tonic for less than a phrase is considered tonicization. This article describes musical chords in traditional Western styles In Music a phrase ( Greek φράση, sentence expression, see also Strophe) is a section of music that is relatively In Music, tonicization is the treatment of a pitch other than the overall tonic as a temporary tonic in a composition.
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Types
There are several different types of modulation -- (these) modulations may be prepared or unprepared, smooth or abrupt. It is smoother to modulate to more closely related keys than to keys further away. In Music, a closely related key is one sharing many common tones with the original key Closeness is determined by the number of notes in common between keys, which provides more possible pivot chords, easily determined by their closeness on the circle of fifths. In Music theory, the circle of fifths (or '''circle of fourths''') shows the relationships among the twelve tones of the Chromatic scale, their corresponding A modulation is often completed by a cadence in the new key, which helps to establish it. In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude In Music theory, the term key is used in many different and sometimes contradictory ways Brief modulations are often considered tonicizations. In Music, tonicization is the treatment of a pitch other than the overall tonic as a temporary tonic in a composition.
Common chord modulation
Common chord modulation (also known as diatonic pivot chord modulation) moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. In Music, a closely related key is one sharing many common tones with the original key For example, G major and D major share 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G Major—a G major chord—is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.
| GMaj: | I | ii | iii | IV | V | vi | vii° |
|---|---|---|---|---|---|---|---|
| DMaj: | IV | V | vi | vii° | I | ii | iii |
Any chord with the same root note and chord quality (major/minor) can be used as the "pivot chord. " However, chords that are not generally found in the style of the piece (for example, major VII chords in a Bach-style chorale) are also not likely to be chosen as the pivot chord. The most common pivot chords are the predominant chords (ii and IV) in the new key. In analysis of a piece that uses this style of modulation, the common chord is labeled with its function in both the original and the destination keys, as it can be seen either way.
Enharmonic modulation
An enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. In modern Music and notation, an enharmonic equivalent is a Note ( enharmonic tone) interval ( enharmonic interval) or There are two main types of enharmonic modulations: dominant seventh/augmented sixth, and diminished seventh -- by respelling the notes, any dominant seventh can be reinterpreted as a German or Italian sixth (depending on whether or not the fifth is present), and any diminished seventh chord can be respelled in multiple other ways to form other diminished seventh chords. A seventh chord is a chord consisting of a triad plus a note forming an interval of a Seventh above the chord's root. An augmented sixth chord contains the interval of an Augmented sixth above its "root A seventh chord is a chord consisting of a triad plus a note forming an interval of a Seventh above the chord's root. By combining the diminished seventh with a dominant seventh and/or augmented sixth, changing only one pivot note at a time, it is possible to modulate quite smoothly from any key to any other in at most three chords, no matter how distant the starting and ending keys; however, the effect is easily overworked.
(Examples: C-E-G-Bb, a dominant 7th, becomes C-E-G-A#, a German sixth. C#-E-G-Bb, a C# diminished seventh, can also be spelled as E-G-Bb-Db, an E diminished seventh, G-Bb-Db-Fb, a G diminished seventh, and Bb-Db-Fb-Abb, a Bb diminished seventh. Combining the diminished 7th with the dominant 7th/aug. 6th: starting again from C# diminished seventh, the progression C#-E-G-Bb, C#-E-G-A (dom. 7th), D-F#-A takes us to the key of D major; C#-E-G-Bb, C-E-G-Bb (dom. 7th), C-F-A, to F major; but the exact same progression enharmonically C#-E-G-Bb, C-E-G-Bb(dom. 7th)=C-E-G-A#(aug. 6th), B-D#-F#-B takes us somewhat unexpectedly to B major; C#-E-G-Bb, C#-Eb-G-Bb=Db-Eb-G-Bb(dom. 7th), C-Eb-Ab to Ab major; etc. )
This type of modulation is particularly common in Romantic music, in which chromaticism rose to prominence. Romantic Music is a Musicological term referring to a particular period theory compositional practice and canon in European music history from about 1815 to 1910 In Music, chromaticism is a Compositional technique interspersing the primary Diatonic pitches and chords with other pitches of the Chromatic
Common-tone modulation
Common-tone modulation uses a sustained or repeated pitch from the old key as a bridge between it and the new key. Usually, this pitch will be held alone before the music continues in the new key. For example, a held F from a section in B♭ major could be used to transition to F major. This is used, for example, in Schubert's Unfinished Symphony. Franz Schubert drafted a four-movement Symphony in E major (D 729 in August 1821 but though the work (which comprises 1340 bars is structurally complete he only orchestrated
Chromatic modulation
A chromatic modulation is so named because a secondary dominant or other chromatically altered chord is used to lead one voice chromatically up or down on the way to the new key. Secondary dominant (also applied dominant) is a type of chord used in musical Harmony. In Music, an altered chord, an example of Alteration, is a chord with one or more Diatonic notes replaced by or altered to a neighboring pitch in the (In standard four-part chorale-style writing, this chromatic line will be in one voice. A chorale was originally a Hymn of the Lutheran church sung by the entire congregation ) For example, a chromatic modulation from C major to d minor:
| CM: | IV | V/ii | ii | |
|---|---|---|---|---|
| Dm: | i | (. . . ) |
In this case, the IV chord (FM) would be spelled F-A-C, the V/ii chord (AM) spelled A-C♯-E, and the ii chord (dm), D-F-A. Thus the chromaticism, C-C♯-D, along the three chords; this could easily be partwritten so those notes all occurred in one voice.
The combination of chromatic modulation with enharmonic modulation in late Romantic music led to extremely complex progressions in the music of such composers as César Franck, in which two or three key shifts may occur in the space of a single bar, each phrase ends in a key harmonically remote from its beginning, and great dramatic tension is built while all sense of underlying tonality is temporarily in abeyance. Romantic Music is a Musicological term referring to a particular period theory compositional practice and canon in European music history from about 1815 to 1910 César Franck (December 10 1822 – November 8 1890 a Composer, Organist and music teacher of Belgian and German origin who lived in France Good examples are to be found in the opening of his Symphony in D Minor, of which he himself said (see Wikiquote) "I dared much, but the next time, you will see, I will dare even more. . . "; and his Trois Chorals for organ, especially the first and third of these, indeed fulfill that promise.
Phrase modulation
Phrase (also called direct or abrupt) modulation is a modulation in which one phrase ends with a cadence in the original key, and begins the next phrase in the destination key without any transition material linking the two keys. In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude This type of modulation is frequently done to a closely related key -- particularly the dominant or the relative major/minor key. In Music, a closely related key is one sharing many common tones with the original key A common device in popular music, the "truck driver's gear change" or "Star Search modulation," is an abrupt modulation, usually to the key a semitone above, typically used to provide an "emotionally uplifting" finale. Popular music is Music belonging to any of a number of musical styles that are accessible to the general public and are disseminated by one or more Star Search is a Television show that was produced from 1983 to 1995 and hosted by Ed McMahon.
Abrupt modulation is also common in forms with sharply delineated sections, such as theme and variations and many dance forms. Variation form Variation form include Ground bass, Passacaglia, Chaconne, and theme and variations
Sequential modulation
Sequential modulation is also called rosalia. It is also possible to modulate by way of a sequence. A sequence in music occurs when a given melodic or harmonic passage is immediately repeated at a different pitch level The sequential passage will begin in the home key, and may move either diatonically or chromatically; harmonic function is generally disregarded in a sequence, or, at least, it is far less important than the sequential motion. For this reason, a sequence may end at a point that suggests a different tonality than the home key, and the composition may continue naturally in that key. Tonality is a system of Music in which specific hierarchical pitch relationships are based on a key "center" or tonic.
A sequence does not have to modulate; a modulating sequence is known as a rosalia.
Common modulations
The most common modulations are to closely related keys. In Music, a closely related key is one sharing many common tones with the original key Modulation to the dominant or the subdominant is relatively simple as they are adjacent steps on the circle of fifths. In Music, the dominant is the Fifth degree of the scale. For example in the C Major scale (white keys on a piano starting with C the In Music, the subdominant is the technical name for the fourth tonal degree of the Diatonic scale. In Music theory, the circle of fifths (or '''circle of fourths''') shows the relationships among the twelve tones of the Chromatic scale, their corresponding Modulations to the relative major or minor are also simple, as these keys share all pitches in common. In Music, the relative minor of a particular major key (or the Relative major of a minor key is the key which has the same Key signature but Modulation to distantly related keys is often done smoothly through using chords in successive related keys, such as through the circle of fifths, the entirety of which may be used in either direction:
- C - G - D - A - E - B(Cb) - F#(Gb) - C#(Db) - G#(Ab) - D#(Eb) - A#(Bb) - E#(F) - B#(C)
If a given key were in G Major, the following chart could be used:
C --' G ' -- D
From G (which is the given key), a musician would go P5 (a perfect fifth) above G (which is D) and also P5 below G (which is C).
From this, the musician would go to G Major's relative minor which is E minor, and potentially to C Major and D Major's related minor as well. . . a musician who does not know the related minor for C and D Major may also go BELOW or ABOVE E minor.
C-- G -- D
ㅣ ㅣ ㅣ
a e b
By using the relative minor keys one can find the specific key that the key can MODULATE into.
Many musicians use the Circle of Fifths to find these keys and make similar charts to help with the modulation.
Significance
In certain classical music forms, a modulation can have structural significance. Classical music is a broad term that usually refers to mainstream music produced in or rooted in the traditions of Western liturgical and Secular music In sonata form, for example, a modulation separates the first subject from the second subject. Sonata form is a Musical form that has been used widely since the early Classical period. Frequent changes of key characterize the development section of sonatas. In European classical music, musical development is a process by which a musical Idea is communicated in the course of a composition. Moving to the subdominant is a standard practice in the trio section of a march in a major key, while a minor march will typically move to the relative major. In Music, the subdominant is the technical name for the fourth tonal degree of the Diatonic scale. Trio is generally used in any of the following ways Three Musicians playing the same or different Musical instrument. A march, as a Musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a Military From that relative major key and go up five steps or go down five steps will be the easiest way to find a new key.
Changes of key may also represent changes in mood; many composers associate certain keys with specific emotional content but, in very general terms, major keys are cheerful or heroic, while minors are sad and solemn. Moving from a lower key to a higher often indicates an increase in energy.
Change of key is not possible in the full chromatic or the twelve tone technique, as the modulatory space is completely filled; i. The chromatic scale is a Musical scale with twelve pitches each a Semitone or Half step apart Twelve-tone technique (also dodecaphony, especially in British usage twelve-note composition) is a method of musical composition devised by Arnold e. , if every pitch is equal and ubiquitous there is nowhere else to go. Thus other differentiating methods are used, most importantly ordering and permutation. In Music, a permutation of a set is a transformation of its Prime form by applying zero or more of certain operations, specifically However, certain pitch formations may be used as a "tonic" or home area.
Other types
Though modulation generally refers to changes of key, any parameter may be modulated, particularly in music of the 20th and 21st century. Metric modulation (known also as tempo modulation) is the most common, while timbral modulation (gradual changes in tone color), and spatial modulation (changing the location from which sound occurs) are also used. In Music a metric modulation is a change ( modulation) from one Time signature / Tempo ( meter) to another wherein a note value from
Modulation may also occur from a single tonality to a polytonality, often by beginning with a duplicated tonic chord and modulating the chords in contrary motion until the desired polytonality is reached. The Musical use of more than one key simultaneously is polytonality.
See also
References
Vincent Persichetti, Twentieth-Century Harmony. The Musical use of more than one key simultaneously is polytonality. Progressive tonality is the name given to the compositional practice whereby a piece of music does not finish in the key in which it began but instead 'progresses' to an ending Vincent Ludwig Persichetti ( June 6, 1915 &ndash August 14, 1987) was an American Composer, teacher and Pianist. W. W. Norton and Company, 1961. ISBN 0-393-09539-8.
External links
- Theory on the Web: Modulation
- Modulation Types for Musical Analysis
- A generalized system for musical modulation
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