Introduction

There are 3 ways changes tonality ; and they are :

Modulation , emergence , and tonal jump _

Modulation is the way changes tonality the code when in progress some musical-formal units change
tonal center , and then the new one tonality confirm cadence .

The exit is short-lived transition to a new one tonality , which happens in the flow some forms
( sentences of the first period ). That it is about someone appearance in someone in action , we can
determine by what the tonality that is new does not cadence .

Tonal jump is the way changes tonality , which occurs on the borders between two formal units for
example Between two department . The code he is from one formal of the whole goes to another which
is in the new one tonality , so they are theirs borderline chords in tonal jump .

Mutation is change tonal genus ( from of the same major in minor I and vice versa ). In the classic
harmony occurs in the case when let composition minor character finish Picardy third party .

Modulation ( diatonic , chromatic , etc. ) enharmonic )

There are three stages in the process modulation . They are :

1. initial tonality , which is usually matches with one time musically thoughts ( sentence , topic ...);
2. 2. Identification common - common chord ( if it is a diatonic chord modulation ). Marked function
changes role in the new tonality , and after that, let 's go important function to determine the new
one tonality ( with express tritone that redirects on the new tonality );
3. Confirmation target tonality across convincing cadence . There are differences between indirect
and direct modulation . It is indirect when from of origin tonality directly enter the target
tonality , and it is immediate when it is before modulation goes into transient exit . Transient
stepping out it stands in contrast turnout exit . After he does not return to the starting one , but
goes to a new one tonality .
Modulation is basic the way bigger of contrast in larger ones forms . Often one _ he presents the
theme ( motive ) in one , and then the other one theme - motif in the second tonality , and the
repetition is presented in the basic ; so that usually match formal and tonal plan. It is a circular
type of modulation .

Diatonic modulation

It is achieved by reassignment scale ( unaltered ) chords both at the starting point and at
the target point tonality .

Signification is change functions of starting , in function target tonality . That's basic

principle diatonic modulation .

In the moment when the chord mark , it does n't sound like function the new one
tonality , because the listener at that moment hears chord from of origin tonality , and not
he knows (he didn't heard ddjelo ) how will go further musically the flow unfold ; so that the
modulation perceives retrospectively .

Diatonic modulation in the baroque

It is the most common in Baroque diatonic modulation , as which is whole musically

tissue predominantly based on the diatonics . In the baroque , it is musical the flow moves in
the frame closer ones tonality , so that it is diatonic modulation usually performs across the
first fifth relatives ( first of possible groups four a group diatonic modulation ).

Quintno related tonalities are tonalities that are away by one or more quinti - quarti ,
upwards or downwards ; And who have common chords , which is the main one feature
related tonality . Distance indicator _ relatives among tonalities is for how much (in this case
fifths - fourths ) are tonalities distant , so they are tonalities that are away by one fifth -
fourth in the first fifth kinship , for two in the second etc. _ Outside a measure of distance
relatives among tonalities it is the code two tonality with risers and two with discounting,
taking away omen the tonality that them has less , and code one with discount , and the
other with with the superscript , is the sum theirs omen .

Baroque forms do not bring a large contrast , so that predominantly no modulates

further _ tonalities . Modulator plan is the most common next : in initial part from _ basic
major tonality modulates udominantni , a from minor in parallel major. As it goes on the
flow musical forms , the subdominant is captured tonality or his parallel , and towards the
end it usually goes to Mixolydian exit .

Mixolydian the step is the addition of m7 to major to the triad , which is obtained
altered chord DS- Ds ( always like septakord ), to which the septum he added on T.

Because of the minor seventh that is characteristic of the Mixolydian mode, a the exit is
because the connection DS 7 S is heard as D 7 IT; so you can hear it like exit . Of course , it 's
just there it 's about expansion tonality altered chord .

Possible kinds of chord for re- signification in diatonic modulation

Chords are most often used for modulation they use major and minor triad , because it
is theirs versatility much larger rather the code others Chords . Reduced are less in use , and
excessive they are not in use at all the code diatonic modulation .

And chromatic modulation is used in baroque , but less often from the diatonic
modulation .

Honor the way modulations in the baroque yes and over sequences . Most often for the
sequence model they take tonic and subdominant chord , which they build apparently
dominant relationship - chords the first fifth kinship , which among they build a relationship
with themselves as DIT ( or vice versa ) in tonality . This model transposes in seconds
downwards ; and diatonic re-designation is done in the second , and sometimes also in the
first transposition . In minor , VII and III are used after t I s natural mole. It can lead into the
 parallel major, whose TID is already covered ; and in others _ tonalities . However , since the
sequencing very much represented in fast , motor attitudes , that 's where they can be
sequences appear in the frame tonality (without modulating flow ). Of the four sounds , the
sequencing I can find T, S, VI and III; as I triad III degree , which is like independent triad
rare . From elliptical connections are possible find D7 and DS7 ( especially the code
Mixolydian protrusions ) or DD7 D7, and most rarely similar connections theirs deputy ;
while are for baroque average Language elliptical connections dominant ones or diminished
four tones not achievable .

The first group

This one group belong to tonalities that are in relation with one certain tonality in fifths
relatives , and theirs parallel tonalities , which in relation parallel tonality with they build a
third party with them kinship. She includes initial tonality to him too parallel , subdominant
and to him parallel and dominant tonality to him too parallel , which means they are theirs
tonics chords across which is carried out re-designation . This means that for modulation
from from the starting point to the target point tonality (which it's not parallel tonality ),
there is four chords which can be to mark ; they are T - parallel , S - parallel , or D - parallel
chords from of origin tonality . These chords are t of the target and t of the starting point
tonality and theirs parallels . This applies to major and natural minor eg . C- major- d- minor:
ceg, ace, dfa, fac, a cod of harmonic minor are dropped some chords for example C-major-a-
minor:

C eg, ace, fac, dfa, i ghd I .

Since three more in common chords from of origin lower tonality , which are from of
melodic minor , namely : II, IV, I VI. For example from D minor of the melodic Uc major on
example can come via egh, ghd, and hd f.

Lower the tonality is that the tonality that in the omen has less riser or more lower , and
higher the tonality is that the tonality it has more riser or less discounter .

In parallel tonality is theoretical possible modulate with all 7 chords from major and natural minor, but it
is the shortest way to the goal tonality to re-signification be on the to its S function , because by adding
the DIT function can immediately get to the cadence .

Another group

It covers tonalities another fifth relatives . They are for example C major I D major i parallel B minor, or A
minor and B major and parallel G minor. For tonalities these groups there are 2 in common chords from
major and natural minor. Those are her SI parallel from higher - DI her parallel from lower tonality . That
means that those two chords have got different functions in two tonality . And here they can find more
two common chords , too from lower of melodic minor, which are the II and IV degrees .

The third a group

It covers tonalities third , fourth and fifth fifth kinship , what means that for tonalities from these groups
does not have common chords from natural major and natural minor , but these chords they get from
moldura I harmonic minor , initial tonality . For example , it is modulated from C major to A major
precoef as ce , which is in C major S, and in A flat major VI, after who goes extended cadence in order to
arrive at an authentic one ; and on example from D-minor to B-minor is modulated across Ef ace , which
is III in D minor , and D major in B minor . It is modulated from major to major across minor from higher
tonality , a from mole to mole over D minor major tonality for example from D major to F major is
modulated via hd fis , and eg . from C-minor to A-minor over ge ha de. For modulation from minor to
minor (for the third fifthly kinship ) exists three more in common chords (II I IV from of melodic minor i
VII ) e.g. from G minor to B minor is possible modulate And over ce es ge , es ge be and a ce es; and for
modulation from lower to higher major tonality ( also III fifth kinship ) exists Chord VII Moldurian from
lower tonality , which is the same chord like second degree chord higher major tonality For example
from C major to A major is possible modulate I over ha de ef . When from lower major tonality
modulates to higher major tonality , it is necessary to go after s to the rest - cadencing 6 4, DIT, in order
to immediately indicated target tonality , because if D and then T were to be added after s, it would
seem that the second degree is over from major (which is also I minor from major tonality ), modulated
to minor tonality , so that on the end cadence put Picardy the third . That would it seemed as if on
example from C major modulated to A minor, instead of A major.

From of the starting major is possible modulate only in the lower one minor tonality of the 4th and 5th
fifths relatives , a from of the starting pier only in the higher one major tonality , also the 4th and 5th of
the fifth relatives , and for the third fifthly kinship Too are possible only these directions for modulation
from major and from minor , but him it is about the mutation that occurs across common D major , after
which goes to VI to be indicated change tonal genus , or after D comes to the major T which is marked ,
and in both case confirms new tonality . These modulations it's not possible perform in reverse
directions because for them does not have common Chords . In these modulation is possible go And
over minor from higher major I over D minor major minor tonality , in what way _ _ perform modulation
depends from the specific ones circumstances for example from C major to B minor and vice versa , it is
better to modulate across ef a ce , than across ef as ce , because it is D from of harmonic B minor IS in C
major.

Fourth a group

In this one group belong tonalities that do not have common chords , which are : 1. Starting from major
higher minor tonalities , a from minor minor major tonalities third , fourth and on the fifth Quintus
relatives ;

2nd tonalities of the 6th fifth relatives , and so on . The exception is modulation from higher Durskog u
lower minor tonality , ( starting from the 6th Quintus kinship , and so on ) , because for them since two
common chords (II I IV from moldura , which are equal to VII I II from melodic minor ) e.g. from C major
to E minor (and vice versa ) is possible modulate through de ef as or ef as ce .

Modulation into tonalities obev group is done across indirect the tonality it has common chords both in
the initial and in the target tonality , but it is not confirmed pronounced cadence so it wouldn't seem like
there is more modulation , and how to hear the modulation performed indirect via . The easiest way to
find indirect tonality is for direction on the more find major - minor S ( for minor VI) and for direction on
the lower D major (for both direction from target tonality ), and then find tonalities in Which them has
And choose indirect tonality for example from C major to F major is possible come across intermediate
B-major, B-minor, G-major, E-minor ( ex. ); a the chord that is requested is ha de fis - ha dis fis ; from A
minor to E minor is possible come across chord B D Ef in e.g. E flat major , C minor , etc .; a from a minor
to a minor is possible come via h- minor- H- major, and it's the easiest to get to across fis ais cis (VI ais-
minor). Intermediate tonalities are required like that what is seen in which tonalities ( between starting
and target ) has omens minor C- major D of the target tonality . For which one ? two functions will be
watched omens , it depends on which direction you are going. From indirect tonality in the target
coming up like that which follow the rules for a particular the group in which are intermediate and
target tonality ; and so it is coming up from initial to intermediate tonality .

Chromatic modulation

Chromatic modulation is a type the modulation in which it goes over changes assembly chords , using
third parties kinship and over altered chords chromatic and diatonic type .

Change assembly chords

In this one the way chromatic modulation belong major , minor , diminished and excessive triads , which
change only in you triads for example minor changes to diminished _ etc. _ They change assembly
chords they change function And you chords they become new ones functions in another tonality .
Before chords to whom he changed assembly , a chord appears to whom should ( immediately after
him ) to change assembly chords . Between the two chord occurs _ open chromatics .

Dursky the triad is changed to minor by lowering the third , by lowering the third and fifth into
diminished, rarely the third and prime into excessive (VI in moldur and very much rarely lowered IV
mole ), elevation fifths excessive ( on the V degree in major +D- excessive dominant ( appears more
often rather like chord of the third degree in the harmonic minor ) and by increasing the prime in the
reduced ; so is a function these chords with the bottom discounted leader subdominant ( diminished the
triad is the second degree in harmonics minor I in moldur ), and the function reduced and excessive triad
with the upper one the leader is dominant function ( the VII in major is diminished ). The rule that
chords with the bottom leader has S function , a chords with the upper one with guide D, applies to all
triads and quadrats .

By raising the minor third triad is obtained major triad , diminutive by raising prime and third , rarely by
raising the third and fifth excessive ( as mentioned above + D- less often like IIIu harmonic please ), by
lowering the premium (mentioned above excessive - like VI in moldur I rarely , lowered IV in minor ).
Also from the diminutive _ can make excessive triad And vice versa . To everyone this triads can be used
add the seventh, and so on major adds small, to the excessive that is obtained elevation of the fifth
major - by raising the third and the fifth minor of the triad , a minor septum is also added ( so arises
chord chromatic type - that 's what they are chords that are not in any ladder they are not scale -
diatonic chords ) i reduced by the II degree also small, and for VII more often diminished (in moldur and
harmonic minor , but minor in major ), and minor is added to the triad major 6, so it turns into a 2nd
quintessence chord and is re- signed to some another function for example in II, III and IV in major . The
code Beethoven is this one triad Often triad of the second degree , after who followed by D third quarter
chord , then T. Everything this seventh ( except the small code excessive D- III of harmonic minor,
because it is a chord chromatic type ) serve to underline And more _ expressed function whom belong
to . That 's what the added I is for sext the code minor triad .

Change assembly diatonic four sounds

theory , any seventh chord would do diatonic like , could convert to any other _ Too diatonic septachord
; however , most often due to convincing sonority and pronounced underlining function , any seventh
chords diatonic type , by changing assembly , change to a small one major ( exclusively on V), reduced
( exclusively on VII in major ) and half diminished ( to II in minor I moldur and VII in major ). Diminutive
and small major they can be marked I in DD or some nontonal D, or in some hers Deputy . As
mentioned , chords _ _ they can meet change assembly chords And to be in the same time he added and
September .

Should mention And that the modulation across changes assembly chords can interpret I as chromatic
And like diatonic , because it is often not possible in practice determine whether it is determined
modulation diatonic with reassignment common chords , before or after who be some altered chord for
example nontonal dominant , or it is in question chromatic modulation across that altered chords for
example C- major E- major (go to intermediate B- minor, then in it between others chords found for
example and cis e, which can be re -marked in S e- dura, after who is can be VIID- ais cis e ge , from
which chromatic can happen modulation , without re-designating it previous chord .

Modulation across Neapolitan sexta chord

Many theorists is because the code _ _ it does not report change assembly chords , threads open
chromatics , they consider it diatonic by modulation . However , it is justified to say that it is chromatic ,
because it is modulation across altered chords . He is altered accordb diatonic type , what means that it
is in one ladder diatonic , and in the second altered chord . In this one type modulation across altered
chords diatonic type include both DD and hers representative (VIID), which can be relabel in e.g. _ D- VII
of the higher tonality , and can be obtained for example designation D or VII. These chords mostly _ they
use like four tones , it works underlining theirs functions ; and if they are not used like quatrains , can be
changed to the same degrees (both major and minor ), as the code designation Neapolitan sexta chord .
About his re-designation will to be words .

Neapolitan the sextachord is by assembly major chord , so that each major chord can transfer to it and
vice versa . For higher modulation _ target tonality some major the chord is re - marked in n6, which is a
minor tone away a second up from T target tonality , because it is altered chord on the reduced II
degree ( with reduced VI degree ); and for modulation in the lower target tonality , n6 is reassigned to
some major chord (I, IV, V in major IVI VI in minor ). So on _ example from C major to E major is
modulated across ef a ce , a from D minor to A minor (in VI fifth kinship ) through Es ge be (n6 in D minor
- D in A minor ). On occasion designations n6 or someone major chord in n6, must be doubled bass tone,
because it is Neapolitan sextachord chord with doubled bass tone . It is also understood that when
designation n6, doubles bass tone.
Modulation in more targets tonality is more common than lower , because at _ _ modulation down _
tonalities ( all in relation on the initial ) omits interesting occurrence (n6 ID after him ) and by myself the
team jump to diminutive tercu , which is being built between the two chords and crossovers - in this one
case re altering alterations , but not in the voice it was in alteration , already in someone to another
voice .

Modulation across third parties kinship

This modulation includes two , out of the existing three thirds kinship among chords , namely ( diatonic ,
chromatic and apparent ). She is being worked on across apparent or chromatic third parties kinship .
Chromatic is when one _ from the common two tons for certain two chords in diatonic tertiary kinship
( here belong tertiary related chords in major and third related chords in natural and harmonic minor ),
chromatic change in another chord for example ce e ge I es ge be; and it is apparent when both common
tone , chromatic changes in the other chord for example ce e ge I as ces es. This modulation is obtained
connection between two tertiary related chords , the second of which is in the target tonality . He
mostly leads to S or D of target tonality , rarely leads to some the second secondary degree , and more
less often in the T of the target tonality , as it may seem _ as if in question tonal jump , not modulation .
If others _ chord got raising the third of the previous one chords , then he gets the D function ; and by
lowering the third , it gets the S function . Basic tones chords are small or a big third , not at all
diminished or excessive , because you would chords in one case heard like fifthly related , and in another
like adjacent ( unrelated ) chords for example des fis is heard as cis fis , and fis as is heard like fis gis . For
this one modulation is generally not used understated and overstated , already major and minor triads
and quadrats . They are also generally not used neither quatrains which basically have got diminished or
excessive triad . Often the relationship tertiary related A chord is a triad and a seventh chord ( most
often dominant ) or two septachord ( e.g. two _ dominant , or for example one dominant , and the other
is some non-tonal dominant ).

Modulation across altered chords chromatic of course

From the altered ones chords chromatic type , for modulation are most commonly in use double
diminutive and hard reduced . Double reduced is built from the diminished thirds I diminished fifths ;
and hard diminished from the major and diminished thirds fifths . Double reduced is found on the
elevated II from major i on II from minor; on the elevated IV from moldura I minor I on VII from major I
minor ; and hard diminished on II in minor and moldur ; on V in major I minor and VII in major . These
chords they can be re -designated from one into the other your own function , which means that this re-
signification leads to a new one tonality ; so like that on the example double diminished from II C- major
(dis, fis , a), can be re -marked in VII E- major and E- minor, and hard diminished from II c-minor (de, fis ,
as) to VII E-major. These chords are possible get I by alteration tons - tons diatonic chords there were
who degree of origin tonality , and you chords functional belong to target tonality . They are obtained if
the example :

From major triad by raising the first third twice reduced , and reduced fifths hard diminished ; from
minor by increasing the prime twice diminished , and by raising the third and lowering it fifths hard
diminutive ; from the reduced one, the third is obtained by lowering it double diminutive , and by raising
the third hard reduced . From chromatic ones chords are used and mentioned quatrain excessive
dominant , which is only like quatrain chromatic chord .

Enharmonic modulation

It is used to connect very much distant tonality . For this one modulation are used chords that in theory
in the initial and target tonality have got different composition , and by sound are the same . In the
literature Usually they are not written both chords ( chord initial I chord target tonality ), is already
written only one from the them . For this one type modulation is used enharmonically reassignment
( change ) two or more tones , but not all tones in the chord . Since certain kinds of chords who is are
suitable for this one modulation and that is dissonant chords - diminished septachord , excessive fifth
chord I minor major , double diminutive and hard diminished septachord .

Reduced septachord

Because it is made up of three minor thirds, i because of that an octave shares on three equals parts ,
naj it is more suitable for enharmonic modulation , and by myself the team most often uses like good
luck with this one modulation . Because mentioned build , his revolutions the same they sound like basic
form ; table means that any tone is possible enharmonically replace in basic shape the new one
septachord , or in his spin for example from the basic ha de ef as in ha de ef gis ( rev the new one
chords ). Of the reduced ones of four sounds , there are only three audible different Septachord
( septachord from ha, ce and cis), while the rest differ by notation . Given that one _ diminished
septachord has six different function in major and minor tonalities ( 4 in major and two from minor), and
to enharmonic by replacement one or more tones , they get four homonymous diminished
septachorda ; using enharmonization individual tones one diminished septachord , can be found in all 24
tonalities ( 12 major and 12 minor ). One diminished septachord is possible find like ladder chord on the
next functions :

On the VII degree in moldur I minor , and that chord he can also be reassigned as a deputy some non-
tonal D ( non- tonal VIIS , VIIVI , etc. ), after what follows resolving chord and given functions for
example VIID resolves into D etc .; on the elevated II in major , na raised IV in major I melodic please I on
elevated VI in major - like triple ascending retainer before dominant septachord . This one chord has
figurative meaning . His the seventh is the same tone as the base tone of the dominant septachord , and
he stays in the same voice , while the rest voices they start for half a degree up into dominant
septachord . Given that this one chord characterizes triple detention , which is released in Article 7, he is
not Often luck for enharmonic modulation like the previous one two . Enharmonic by replacement some
his tones , can be interpreted as both VIID and VIIS of the same tonality for example (C- major- elevated
VI- ais cis e ge = VIID be cis e ge = VIIS be des e ge ).

Resolutions function diminished septachord are next :

VII is the most common resolves in T or in K64 D53, elevated II in T6 or K64 D53, elevated IV in D, or
more often in K64 D53 I elevated VI in dominant septachord .

Excessive triad
Excessive quintachord is built from the large thirds and excessive fifths ( or of two major thirds), and his
revolutions from the major and diminished thirds fourths , which is enharmonic equal big terci , which is
obtained enharmonic by replacement diminished neighborhoods . Because like this materials ,
revolutions excessive triad the same they sound like basic shape . Since four different excessive triads by
sound and that is chords of ha, ce , cis, and de; all of the others chords they sound like one from the
them , and they are obtained by enharmonic by replacing . Each of the tones excessive triad can be
enharmonically transfer to the basic tone, or to the tone of someone revolutions the new one Too
excessive triad . Given that one _ excessive triad found in harmonic and melodic please on the 3rd
degree , in major on V ( as excessive dominant ) And in moldur on VI, And to be from one triad I can
create three new ones, it means that it is possible go in 9 tonalities , including closer and further
tonalities . Resolutions excessive triad are :

III mostly resolves to T or fifth chord VI, excessive dominant (+D) in T53, and VI from molding in chords
subdominant functions (in IV or II degree ). Common characteristics chords for enharmonic modulation
they are ; their dissonance, which them in a relationship on the the rest ladder chords, form I can
distinguish according to my own peculiarities ; And theirs enharmonic changes , which also _ they get
such chords . At a convenient time chords for enharmonic modulation are more little major septachord I
hard diminished septachord , code which are enharmonic re-designation is happening on the minor
seventh ( cod both chords ).

Enharmonism minor seventh

Small septum enharmonically fit excessive sexti , so it's hers enharmonic reassignment comes to chords ,
which are in relation on the the chord in which it is performed enharmonic change , different assembly .

Small major septachord

Although in tonality next to the dominant one septachorda , small major septachord finds I on others
places ( on DD, non- tonal D, VII in natural minor , S in melodic please etc. ), it is still for enharmonic
modulation most in use dominant septachord . By changing the minor seventh major septachord in
excessive sextu , is obtained excessive quint sextachord - first spin double diminished septachord . His
are solutions next :

65 elevated IV goes to D53 or K64 D53, elevated II goes to T6 or K64 D53, and VII goes to all shapes T.
Since the small septum marked as excessive sixth , the lower tone goes to a half step down , and the
upper tone excessive the sexte goes to the half degree upward And that 's how one gets educated
octave . By designation small major septachord in some from the these function it is modulated into
tonalities someone fifth relatives upwards . Signification double reduced 65 leads to modulation in some
lower tonality . This modulation it's not thank you , because then chromatic chord turns into diatonic . In
the literature , D 7 is often referred to as double diminished quatrain of elevated IV from minor or
moldura ( VIID). His resolution in D triad leads to " Mozartov fifths ”, which are allowed if them educates
one external I one internal voice (bass alto-bass tenor). They are half degrees fifths who is becoming if I
sit double diminished triad , found above the third.

Hard diminished septachord

And the code hard diminished the septachord and the minor septum enharmonically changes to
excessive Sext . It is in major and minor on II (-DD ), on V (-D)I in major on VII (-VII). It mostly occurs in its
own to another rotate ( as excessive Terc quartachord ), which the same it sounds like basic form , and
from the basic shape enharmonic by replacement diminished fifths in excessive fourth and minor
seventh to excessive sext can get third quarter chord the new one chords . The same so from excessive
quarter chord enharmonic by replacement ( enharmonic by reassignment ) gets basic shape the new
one diminished four tones . The most common function of these two form is DD from minor or moldura
( harmonic major -major ladder with reduced VI).

As you can see , for everyone kinds of enharmonic modulation distance tonality does not represent
none a nuisance . Across enharmonic modulation is possible to come and in the best more distant
tonalities , which are distant for excessive quarter ( tritonus ) from the original tonality .