Scribd
Upload
158 views11 pages

Modulation - Pivot Modulation PDF

Modulation is a technique used to transfer between musical keys. There are various methods of modulation including diatonic common-chord modulation, which uses a pivot chord that is common to both the original and new key. Closely related keys that are a part of the circle of fifths share more common chords, making them easier to modulate between using a pivot chord. When constructing a modulatory passage, the shared chords between the original and new key are identified, with preference given to chords that serve a predominant function like the subdominant or supertonic chord, which can effectively act as a pivot chord to establish the new key.

Uploaded by

Gwyneth Bruno
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
158 views11 pages

Modulation - Pivot Modulation PDF

Modulation is a technique used to transfer between musical keys. There are various methods of modulation including diatonic common-chord modulation, which uses a pivot chord that is common to both the original and new key. Closely related keys that are a part of the circle of fifths share more common chords, making them easier to modulate between using a pivot chord. When constructing a modulatory passage, the shared chords between the original and new key are identified, with preference given to chords that serve a predominant function like the subdominant or supertonic chord, which can effectively act as a pivot chord to establish the new key.

Uploaded by

Gwyneth Bruno
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 11

MODULATION

DEFINITION OF MODULATION

• A technique used to transfer from one key to another.


• May or may not be accompanied by key changes.
• Modulation can exist within a phrase, or between phrases.
• There are many methods to modulation.
• Modulation not only articulates the intrinsic structure of a given piece, it also
adds interest.
TYPES OF MODULATION

• Diatonic common-chord modulation (pivot modulation)


• Altered chord modulation
• Phrase Modulation
• See Bach Chorales
• Sequential Modulation
• Enharmonic Modulation
• Fully-diminished leading tone modulation
• Enharmonic note modulation
• Augmented 6th Modulation
• Common-tone modulation
IMPORTANT THINGS TO KNOW…

• 1. Modulation vs. Transposition


• 2. Tonicization vs. Modulation
• 3. Purpose of Modulation
DIATONIC COMMON-CHORD
MODULATION
DIATONIC COMMON-CHORD MODULATION

• Modulations to other keys with the use of a Pivot Chord.


• Pivot Chord: A chord that will be used to transfer to a different key.

• For a chord to function as a Pivot Chord, it must fulfill the following:


• It is diatonic (common) in both the old key and the new key.
• It is the PD (pre-dominant) function of either the old key or the new key, or both.
• If it is the predominant function of the new key, It is usually followed by the Cadential 64 formula (of the new key) to
help establish the new key.
KEY RELATIONSHIPS

• The relationship between the 12 key-signatures of the Equal temperament system can be classified in
two ways:
• Closely-related keys
• Key signatures that differ by no more than one accidental. Key signatures that are one accidental apart are closely-
related keys. (ex. C major and G major; C major and A minor)

• Distant keys
• Key signatures that differ by more than one accidental. (ex. C major and Eb major; C major and F# major)
• Closely-related keys are the keys adjacent to
one another.

Ex. F - C - G

• This also applies to minor keys.

Ex. d - a - e

• Therefore, the keys that are closely related


to C major are F, G, a, d, and e as shown
below:

Ex. F - C - G
| | |
d - a - e

• Distant keys are all of the other keys outside of


the illustration above.
An example of a musical period with a diatonic common-chord modulation is shown above.

• From the OLD KEY of C Major to the new key of A Minor.


• Since C Major and A Minor share key signatures (no accidentals) as they are relative keys,
they are said to be closely-related keys.
• In this example, the chord function shown with the red color is the pivot chord (d minor 7).
• D minor is the supertonic of the old key and the subdominant of the new key.
• This pivot chord works very well since it is the Predominant function in both keys.
• The Pivot chord is immediately followed-up by a Cadential 64 in the new key.
CONSTRUCTION OF A MODULATORY PASSAGE

• Before construction, first we must plan what key we are transferring to.
• Also take note that Pivot chords work best when transferring to closely-related keys.
• The reason being that they have more chords in common as compared to distant keys.
• The further you stray away from your Original key in the circle of 5ths (clockwise or counter-
clockwise), the less shared chords occur and therefore, pivot modulation becomes more unlikely.

• Then we figure out which chord can act as a pivot by listing down each diatonic chord
for our old and new keys showed below:
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone

Old Key C C d e F G a bº
New Key a a bº C d E F G
CONSTRUCTION OF A MODULATORY PASSAGE
• We then take note of the shared chords. If there are shared chords that have a predominant function (ii
and IV) then we may use that as a pivot chord.
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone

Old Key C C d e F G a bº
New Key a a bº or b C or C+ D or d E or e F or f#º G or g#º

• Based on the table above, all chords are shared between C Major and A Minor.
• We then look for a suitable pivot chord.
• In this case, we can pick d minor since it is the supertonic of the old key
and the subdominant of the new key.
• We can also pick b diminished. Albeit it is the leading tone of the old key,
it is the supertonic of the new key (having a predominant function).
• When we pick on any other chord outside of the [ii] or the [iv] in the new
key (ex. The F Major being a [IV] in the old key but a [VI] in the new key),
we will have to construct a chord progression that eventually leads to a
Cadential 64 of the new key (modification can be necessary).

You might also like