NAME: Modulation to Cael acl A. QUESTIONS FOR REVIEW 41. What is a modulation? 2 What is amain key? 3. When modulating to the key of V; what scale degree should you raise? This raised note is equivalent ro what scale degree in the new key? 4, What is a pivot chord? What are some possible pivot chords in modulating from. Ito V2 ‘5. What distinguishes a modulation from a tonicization? B. DETERMINING POSSIBLE PIVOT CHORDS Write the indicated chords in each pair of keys. Then indicate which chords could serve as pivot chords between these keys (that is, which chords are found in both keys). ‘yet CH= SSS i) A: 1 ii iti Vv v vi vii? :. @ v v : vie photchoniss of A= IV of &} of A=__of E;__ of A ofE; of A= of E . Determining Possile Pivot Chords 1 287rel Ft iii Vv v pivotchords: of Bh=__of F; of C. REALIZING ROMAN NUMERALS 4. Realize these Roman numerals in SATB format. Dotted bores indicate the pivot chords. Remember to include accidentals where necessary. a b. e 288 1 CHAPTER 271 Modulation tothe Dominant Key ealNANE:... = 2. Realize these Roman numerals in SATB format. In each case, the pivot chord is indicated in only one of the keys; on the blank line give the Roman numeral label of this pivot chord in the other key. Remember to add accidentals where necessary. a b. e Br af ve 4 7 i$ Vo. 2. Realize the Roman numerals in SATB format, choosing a harmony that can serve as a pivot chord between these keys and labeling its Roman numeral (within both i keys) on the blank lines provided. a b. ciwiviv vf G ©. Realizing Roman Numerals. 1 289Be I iif V§ 4. Realize the Roman numerals in keyboard format. Where a blank line is provided, complete the labeling of the pivot chord. Where one of the pivot chords is not labeled, fill in the blank. “Though Wi rae in ln tering yout fr when nea pvt ord. | 290 | CHAPTER 27 | Modulation tothe Dominant KeyNAME: D. REALIZING FIGURED BASS Foreach of the following. + Realize the figured bass in the indicated format. + Then label the keys, Roman numerals, and cadences, making sure to indicate the modulations. ‘+ Indicate pivot chords with a dotted box. Keyboard format: Hint: the third chord should be the pivot chord, 1 2 SATB format: 4 D. Realzrg Figured Bass | 291E. HARMONIZING MELODIES 41. Complete the harmonization of each melody by providing a bass ine and Roman, ‘numerals and filing in the inner voices. In each case, modulate to the key of V using a pivot chord, and end with a cadence in the key of V. Ay b e eae , ( | | ates AL Gd Ee oT Dk oT 282 | CHAPTER 27 1 Modulation tothe Dominant KeyNAMES enn 2 Harmonize the following melodies in SATB format: + Identify the key and harmonize the following melodies by providing a bass line and Roman numerals. + Using a pivot chord, modulate to the key of V by the end of the first phrase, then back to the main key by the end of the second phrase. What in the melody hints that there will be a modulation to V in each of these? + Finally, fil in the inner voices in SATB format. a > key: 8. Harmonize the following melodies in SATB format: , + Determine the key and add a bass line and Roman numerals, providing each note of the melody with a separate harmony. +The fermatas indicate the location of the cadences (either an authentic cadence in the main key, a half cadence in the main key, or an authentic cadence in the key of ¥, as appropriate) + Using a pivot chord, modulate to the key of V and back within each example. + Finally, ill in the inner voices in SATB format, a ~ 7 , Karmonizing Melodies | 283294 | CHAPTER 27 1 Modulation tothe Dominant KevNAME: key: F, COMPOSITION 4. Realize the Roman numerals in keyboard format. D: Wii i v Composition | 2952. Realize the figured bassin keyboard format. Label the Roman numerals, indicating pivot chords (with a dotted box) and modulations 8. Compose a piece for keyboard and another instrument, using the same harmonies of either (1) or (2) immediately preceding 296 Provide the key signature forall parts Use the same notes in the keyboard part as previously, but use a pattern of fig- uration, asin earlier chapters. As always, there should be no parallel octaves or fifths between the melody you compose and the bass line of the accompaniment. [As indicated in the score, measures 13-16 should be a transposed variant of measures 5-8, ‘The melody should conclude on the downbeat of the last measure. | CHAPTER 27 1 Modulation tothe Dominant KeyNAME: ‘transposed variant of measures 5.8 _AEaETATr—__—~E—_—_— G. ANALYSIS ©) 41. Analyze the following examples: + Label the keys and Roman numerals, making sure to indicate the starting key, the change(s) of keys, and the pivot chords. + Draw a dotted box around pivot chords showing their function in both keys. *+ Label cadences, indicating key and type (PAC, IAC, HC, Phrygian, plagal). + Notice that there are no blanks indicating where chord changes occur: you will have to determine the harmonic rhythm (the pace of the changes of harmony), ‘a. Chorale Book for England, no. 29 Let us all with | glad-some voice | Praise the God of hea bb. Hymnal of the Methodist Episcopal Church, no. 286 G. Analysis | 2976. J. 8. Bach, Chorale 192 d. T. Ravenscroft, “The triumphs of his name record” Note: this isin open-score format; the tenor voice sounds an octave lower than. notated, Beethoven, Rondo, op. 51, no. 2 Indicate one chord for measures 1-2, and at most two chords in the each of the remaining measures. Note that an applied chord precedes the pivot chord 298 | CHAPTER 27 1 Modulation tothe Dominant KeyNAME: f. Bocchesini String Quinte in E, It Most measures have one chord, but label two chords in measure 4 and three chords in measure 7. e—~ Vion con sor Violin i Viola Cello Callo if2 Decide whether each of the following examples includes modulations or toniciza~ tions, and analyze the chords with Roman numerals accordingly. What are reasons for reading either a modulation or tonicization in each case? (There is at most one chord per bass note in each of these.) ‘a Boston Hymnal, “Amidst these various scenes of ills” 'b. Mozart, “In diesem heiligen Hallen” (Within These Sacred Halls), from The Magic Flute Im die - sen hell - gen. Hal - len kennt man die. Ra - che nicht, a a vot “Translation; Within these sacred halls revenge is banished. And should a person fll into sin, love wil guide him back cohis dury.NAMES... . Haydn, String Quartet, op. 50, no. 1, IL Violin 1 Violin 1 Viola : |p stace. Cello pat Fo hs 4. FJ. Gossec, Gavotte Note: there are one or two chords at most in each bar, G. Amalvsis 1 am3. Sor, Six Petite Pieces for Guitar, op. 5, no. 4 Label only one or two chords per measure. M21 CHAPTER27 1 Matin ta the Naminant Kew