Modulation ete change fom ‘one key to arate win ‘competion, INTRODUCTION TO MODULATION p until now, we have sung and listened to excerpts that stay in a single key. ‘Now, we will begin to investigate music that moves from one key to another within a single excerpt, a change that we call modulation. Change of Tonic In all music that modulates, an initial passage tonicizes one pitch, chen moves to another passage that tonicizes a different pitch. So far, we have understood toni- cization as a single static condition that stayed the same for the entite duration of a musical excerpt. But tonicization also operates as a dynamic process, whereby the tonic of an excerpt can change from one passage to the next. You must sharpen your hearing and reading skills in order to identify the tonic at any point in an excerpt and you must be vigilant for possible changes in the tonic at any point in an excerpt. ‘The following melody is in the one-sharp diatonic collection. The frst cight ‘measures and the final four measures tonicize E, resulting in E minor, Buc the pas- sage in between (measures 9-12) tonicizes G, so this middle passage is in G ‘major—the relative major of E minor. Although you could hear and perform this entire short piece in E minor, ic makes more musical sense to think of measures 9-12 in G major. “A Geneyve,” Yiddish fll melody FEminoe 1 aie “1 [minor ‘This excerpt illustrates a modulation beoween relative keys, which involves a change of tonic without a change of diatonic collection. Although some different pitches are emphasized in each arca, they are all stil part of the same collection, Change of Collection As demonstrated above, modulations between relative keys involve a change in tonic, but not in collection. Other modulations involve a change in collection, but not in tonic (moves between parallel keys, which we will examine in greater depthchapter OS introduction to Modulation Chapter 71). However, the vast majority of modulations you will encounter volve a change in both tonic and collection, Franz Schubert, “Kennst du das Land,” D. 321, mm. 1-11 (1815) ~ On gen pli, ein san? ~ ter Wind vom Bat ~ on In the excerpt above, measures 1-5 are clearly in A major; however, the natural 5 on F, C, and G beginning in measure 6 create a new diatonic collection with sharps of flats. The pitch C is tonicized in these measures, so you can see and that chis passage has modulated from A major to C major. The Art of Changing Syllables during Performance order to use functional solmization (scale-degree syllables or numbers) for music « modulates, you musc change from one tonic and scale to another. For example, first wo measures of the following excerpt are in C major, but measures 3-4 are G major (a precise transposition of the opening). In order w solmize measures 2 with a tonic of C and solmize measures 3-4 with a tonic of G, you muse change ‘one scale system to another, and you must determine a point at which to make change. J.S. Bach, Concerto for Three Harpsichords, BWV 1064, sav. 1, mn. 4 (¢, 1730) la ol la ti do ti la ol fe mi fu sol mi do ve mi é SER FET GE FART I wl do sol do Hi rere ra ee ee SS SS SSS Db Wl db tg bh db fb ol fe pif al mi oe ee Fe Ee Eee PES a 7 major is represented in the syllables and scale degree numbers below the notes first two measures, At the downbeat of measure 3, the syllable that would be in the old key changes to i/do in the new key of G major. Of course, you st choose to change on the last pitch in measure 2, singing 7/i instead of t4/fi, us might even mumble through a few of the notes in that entire beat before ing the new i/do on G in measure 3. In any case, you must change soon so that the music makes sense in the new key, and you must abandon the cy in your thinking and hearing so hac the new key can be firmly established. ws can sometimes take advantage of a rest to change syllables. During the pause sure 9 of the following excerpt, the pitch C can change from 5/sol to 3/mi,chapter OS introduction to Modulation iemiich anion. Robere Schumann, Mjrshen, Op. 25, No.7, "Die Lowsblume,” mm. 1-13 (1840) ‘You can also change syllables during a longer note, as in the excerpt below. The chromatic pitch Cf appeats as Tiffin C major but changes function to 17/r#in the new key of D minor. Since this pitch is twice as long as the quarter notes around it, you can begin singing it as Ti/di and change to 17/ +i during the note. Henry Purell, King Arthur, 2628, Ac TM, “Thou Doving Fook” mm. 17-2 (1691) Presto You may also find that you have to fake a few notes in between in order to come our all right on the other side, particularly if ies not clear exactly where the new tonicization will be. For instance, the Ff at the end of measure 4 in the excerpt below can be thought of as 16/da in the initial key of A minor. The passage seems to move toward G major in measure 5, but it becomes clearer in measure 6 that the ultimate goal is E minor. You could sing measure 5 in this intermediate key of G major, thinking of Ff as 7/ri, or you could simply sing on a neutral syllable until the new tonic becomes cleat. J. Bach, Sinfonia No. 13, BWV 799, mm. 1-8 (€. 1720)Where and How Does a Modulation Occur? ay have discovered in written harmony lasses, the question of precisely more accurately, her) a modulation takes place looms large. There is no {rect” answer co this question. When sight reading or listening ro melodies ulate, you must reorient from the original key to the new one, but the pre- cat which you do this can remain flexible. at reading the following excerpt, you can clearly recognize the opening 2s Eb major, At some point, however, before you reach the cadence in mea- ou will need to shift the tonic from Eb to G. Jobannes Brahms, Lieder und Gesnge, Op. 57, No. 2, “Wenn du aur euwellenlichels.” pn. Poco Andante se Ss 4+ la wl doh 7 2 8 xt look far enough ahead to realize the role of the Ag in mea- ight interpree this passage 25 6, where 3! mi first, you might no asa cue to the modulation. In this case, you 1 above, so that the change of tonic and scale occurs in measure nes L/do. If you were singing this passage and wanted to change syllables at this , you would think of the skip to G as 5/mi in E> major but sing it as Aldon nor and continue in that key: you might just as easily make the change earlier, as in the following owever, Poco Andante 4 ene an @ 1 fact, you could make the change at any point during measures 5-7. In sight ing and listening (as opposed to analysis, for which you have lors of time to sider your decisions and defend them) the idea is co change at some time so that end up working comfortably in the new key.eects OF introduction to Modulation Maibig geschwind Types of Modulations You should familiarize yourself with three types of melodic modulation. Common-Tone Modulations A common-tone modulation occurs when a single pitch can be reinterpreted in the move from one key to another. Sight singers need to reinterpret the common tone before leaving i and proceeding in the new key. We have already encountered an example of this in Schumann's “Die Lotosblume” (page 314), in which the pitch C functions as 5/s0f in the first key and as 3/mi in the new key. Modulations by Leap to a Chromatic Pitch Modulations introduced by leaps to pitches that are chromatic in the initial key pose one of the more difficule challenges for sight readers. In the following excerpt, the leap to Egat the downbeat of measure 9 introduces this type of modulation. You could conceive of this pitch as 4/ff in the opening key of Bb, but it functions as 7/11 in the new key of F. Feans Schubert, “Geheimnis,” D. 491, mm. 3-12 (1816) eo t Sag an, wer Iehit dich Lie Allegro = fe = Sic - fen ei - nen Him ‘When you sing this excerpt, use the rests in measures 7-8 to rethink the D as 6ilain the key of E. Then, the skip down to Eis merely a skip to 7/24. (You might also «ry hearing this Ek up an octave, moving stepwise from the D, before making the leap to its proper octave.) In most modulations that ae introduced by difficult skips to chromatic pitches, ie will help you to begin thinking in the new key a bit earlier than you otherwise might have. Gradual Modulations As we have discovered, itis often impossible to point to a single spot and say “the modulation occurs there.” Indeed, most modulations involve a process in which one key gradually becomes another key over time, Jean Baprst Lol (de Gant), Sonata, Op. 3, No.4, mvt. 4, mm. 1-22 (1715) fos8 chapter OS introduction to Modulation Gees SSS Although it’s clear chat the excerpt above moves from G major at the ‘opening to E minor at the cadence in measure 22, how and when to make this change is not ‘0 cleat, The Df in measure 14 might lead you to try to move directly to F mines there, but the Dé in measure 18 and Cin measure 19 make this les clear (pethaps pomentarily hinting ae D major). Its not unl the return of Df in measure 20 thee E minor becomes clea. You could move to E minor as early as measure 14 or as Inn &s measure 20, with or without an excursion to D major in berween, There is no Single “correct” way to make such a modulation, so you must find a reasonable sea, cay that works and use it Modulations in Harmonic Progressions Just as melodies modulate from one key to another, so do harmonic progressions. Ne ill indicate modulations in harmonic progressions by writing the chord symbols in the initial key on one line, then writing the chord symbols in the new Key om a line directly below: As illustrated below, the new key will be indicated 4a ‘area inthe intial key represented by a Roman numeral followed by s colon, all enclosed in a box. Where the two keys share a common chord, that chord will be pbrsseated by dual chord symbols aligned vertically ro show the single chords function in each key, IV vw Ww IWS VE 16 i vier 1 This progression begins in the major mode and modulates to the key ofthe sub- dominant (IV: in the box). A common chord occurs where IV in the initial key on the upper line appears above I in the new key on the lower line. You might begin to hear this modulation as carly as the fourth chord or as late as the sixth chord. When arpeggiating such progressions, ic is up to you to decide ‘where you feel and hear the key change and then change your syllables accordingly BESTE 1. Practice modulating becween relative major and minor keys. a Sing pitches that tonicize the major mode, then—without changing the dia- ‘onic collection—move to 2 toniciation of the relative minot, Then return to the original major key. One example of this is shown below.