ON Shifting tonalities for an emotional response y Professor Wayne Naus '76 cone level, the process of modulation is sim- change from one key or tonal center 10 other. Bot on another level, je can also trigger ariety of emotional responses from the listen- Depending on the technique or combination rechniques used, modulation esn help musie more effectively evoke a mood, Several factors govern the effects of modula- a But simply put, major keys generally pro ce a positive or happy effect; minor keys, a 4 one, Tempo is also a factor. Depending on ether the move to the new Key i harmonical~ prepared or unprepared, for example, anod- ssons may be smooth or abrupr. In axldition to odulations to major and minor keys, iti pos- ic to modulate between various modes and 15 and to create some interesting modal-tonel -mbinations ulation: Objectives and Techniques this article, Iwill confine the dseassion to ual key changes and explore five techniques for xdulating direc, pivot-chord, melody driven, ssiional, and combination modulations. No sce which technique you use to create a mod sion, you need to ask three questions: (1) What che desired effect? (2) What isthe destination ® and G) Which technique will gee you there? te that you can heighten the efct of edulation if you change not only key but also spo. Further, when vial images accompany nodulation, the psychological or emotional ct.can be even greater: Fach modulation Said be tallored to particular nausea srua- =. In many cases, musicians use a modulation ie chorus or bridge ofa tune of as a seyue ween songs in a medley: Many jaze tanes cially those in the bebop style) modulate ently creating a potential harmonic obsta- ‘course for the plaver. Regarles ofthe type sodulation used, it must be a arefullysealp- 1 musical event that involves a sexes of hat= sic and melodic choices that conform to the nd context ofthe music at hand, diagram below shows the harmonic, odie, and Key relationships that ae involved in cxdlation, When two or more of these ele- # are combined, it creates what I call a“com- son modulation.” Even thongh the Fistenec => these relationships over the course of only a MELODY. few seconds asthe key changes, such modulations initiate an emotional response. The listener may not even be consciously aware of the combined! relationships in a modulation. But the overall cffect may convey feeling af optimism or new beginning, even the sensation of goose bumps. Aaio files examples 8 and 9, “America the Beautiful” and “Taps” are examples of this. (To bear all musical examples, visie Intp/rww eres edu/be/192Aesson ht.) Examples of Modatlon Examples Ldhrough 7 demonstrate various com Linaions of harmonic, melodie, and key relation- ships tht produce a range of modulation types ‘with vated levels of complexity Example I shows 2 eet modelation that uses two preptitory chords, BH? and AV (he IL7 and V7 ofthe new ey). They setup the key change Example 2 pivor-chood ineultion. In ar 3, the F-7 is elle the pivot chord boca i has 4 dual uncon a 1V-7 inthe Bey of C and a5 the 11-7 in the key of E>. Ths typeof modulation is ‘more subtle than a direc miouaton, Also in bar 3, the melody note C contributes to the effect of this approach on the nner: The ear pereves the Cay the rot inthe key of Cand as the sith degree in EP. Harmonically, the C functions as the fifth ofthe F- chord and the ninth onthe BT chor ‘Bxumple3 shows combination of pvot- chord and direst modalaconsthatinvolve adi feren nterction between the melody harmony, and adjacent keys adding a greater degree of complexity In bar 2, the G7 chord resolves ina deceptive cadence to an 8m in bar 3, chord that Fanetions in bot kes. In bar 3, the melo’) note the rat inthe key of Cand the hid degrecin 3 “Example 4 shows an unprepared, direct ‘modolation that is melody driven and accom- plished through the use ofa common tone ‘The Cin bars 3 and 4is diatonic to both chords and keys In che key of Cy tthe root and in Ds, the seventh. On the A¥7 chord, the C funetions as the third; and on the D> chord it the seventh, The aio file ofthis example demonstrates the effect the change of melodie Funetion creates Example 5s another combination of pivor chord and direct modulations that capitalizes on the interaction between the harmony, melo and adjacent keys The melody note in ba 3s the fifth degree in the home key of BP and the thi in the new key of DB. 8 the roo of the FP ehord andthe third ofthe Db chon Because of the deceptive solution ofthe F7, the D chord thas a function in both keys. Example 6 shows another combination of direc and pivot-chord modulations. In bar 3, he telody note Bis the third degre inthe key of © and the ih in A. The G7 chords have a Knecon in both kes. Because of ts deceptive ecohtion, the Am? chord canbe heard as fctoning both key In the key of it isa rare empl of Vn? chond. Ths complex mextlaton can aff te stn on many vel Example Tis transitional modulation, Daring the dhice-bar ranstion fom the key of C to DF (see bars 3 10 5), the feeling of the key of C is lost, and there is no expectation of what the nc Key wll be. The process begins witha series of 1-7 V7g, hich done reslve ana ply the keys of Band D. The melody is Sequential and moves in an ascending die tion, adding tothe forvard momencam pro Wied hy dhe harmony. Sinee theres no expec- tation of key destination, this type of modu Intion ean conve unt the dested Key is reached ‘As mentioned above, examples # and 9 are versions of “Amerce the Beatifl”and Taps” thar asanged and played on the trumpet co demanstate modulation techniques "These modulations were desizned wo produce an ‘motional response that i impossible to sum upin a desciption of the techniques ulized Thope some of the ideas in this rile and the musical examples may ingpre you 0 eon- Sinve on a path of musical discovery. inspia. Gon, and create. Wayne Nas, «profesioal rape player, is a pro- for in the Harmony Degarimene. Hei the author ‘of Beyond Funetiovsl Harmony published by Adcance Mic Fr sore information, vst aww coaynenascomTo hear these examples, visit www.berklee.edu/bt/192/lesson.html. Ce en 8 Aesion THe SeaurieyL an wa 4 feat wt nt iy wt po pe ern ee er 8h eB ! ag Gre eal 4 oy ow ow ob So Sw Bl SSS 1 oe est ee as ie nw meer ve Baler at ew ti sor eed Run Sgergtt on th ae ase 3 a ee tas a eet wat we wy kama ea A2 t oe eee on =e =]