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).
