Unit 12 - ModulationAP Music TheoryMr. Jackson

Mode Mixture

Mode mixture is the harmonic technique of combining chords from a major key and the parallel minor, or mixing the parallel major and

minor modes using the b3, b5, b7 from the parallel natural minor. To analyze and notate chords whose quality has been altered by

mode mixture: Adjust the Roman Numeral to uppercase or lowercase to reflect

the change in the third of the chord. If the root of the chord is altered, add a b or # before the

Roman numeral to show that the chord is built on an altered

pitch – such as the bVII – which is the subtonic chord borrowed from the parallel natural minor.

If the chord has been altered to be augmented, add the + sign; if the chord has been altered to be diminished, add the diminished sign.

As a general rule, since these mixture chords are derived from lowered scale degrees, resolve the chromatic alterations down.

Mixture Chords in Minor

We can also borrow/mix modes from the parallel major when in a minor tonality. Our most common example is the LEADING TONE! We also see instances of minor excerpts ending on a MAJOR triad. This would mean that the THIRD scale degree is raised. The major tonic is borrowed from the parallel for a more “authentic-sounding” ending. The THIRD of the chord is raised to make it major. This is called a Picardy Third.

Did you know that “Greensleeves” traditionally ends with a Picardy third?

What is Modulation?

Modulation is the process of moving from one tonal center to another, with or without changing the key signature.

It is possible to have a region of a new key, or experience a temporary send of a new tonic, temporary tonicization, by the occurrence of one or two non-diatonic chords, and not be completely modulated.

The difference between MODULATION and TEMPORARY TONICIZATION is 1. The occurrence of a convincing cadence AND 2. Significant time in the key .

The Process of Modulation usually includes THREE STAGES:1. Establishing the First Key2. The Modulation Device3. The establishment of the new tonal center

Closely Related Keys

Modulation usually occurs to closely related keys because they have common chords between them. Each key has five closely related keys. The key signatures differ by no more than one accidental.

Modulation within a phrase is most often going to be common chord or pivot modulation.

Recognizing the Common Chord/Pivot Chord

Here is your checklist for recognizing the common chord:

• The pivot chord is diatonic to BOTH keys. • The common chord is frequently ii or IV in the NEW key. • The common chord is where the tonality shifts (pivots) and is usually the chord just before the accidental or altered chord signaling a new key. • The new key is established by the occurrence of an authentic cadence shortly after the modulation. • All music before the common chord functions in the first key and all music from the common key to the cadence will function in the new key.

GM: I V6 I vi em: i iio6 V7 i

Example

Chopin : Prelude in c minor

Example

Direct Modulation

Any type of modulation that DOES NOT use a common chord is called direct modulation.

If direct modulation occurs within the phrase it is a chromatic modulation, which features a chromatically altered note in the same voice. It abruptly shifts from one key to another at the accidental and proceeds to cadence in the new key.

Direct modulation BETWEEN PHRASES is called phrase modulation – a new phrase or section simply begins in the new key following a cadence. Even if a common chord is present, this type of modulation is generally referred to as a phrase or direct modulation.

Example: Chromatic Modulation

Example : Phrase Modulation

Tid Bits about Modulation

Modulation from major to the relative minor (the submediant) is one of the most common modulations. Modulation to the dominant is another common tonal motion as well as to the subdominant. The smoothest common chord modulations are those that use predominant function chords as the pivot. Modulation may also be made through the use of secondary dominant chromatic chords. Look for a scale or scale pattern that represents a new tonal center. Remember to look for a convincing cadence and significant time in the new key; otherwise, it is an area or region in the new key and is NOT a modulation. Notate common chord modulation recognizing the pivot chord AND the shift to the new tonal center in this fashion:

GM: I V6 I vi em: i iio6 V7 i