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22: Modulation

Last updated

May 1, 2023
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- 21.9: Practice Exercises
- 22.1: Modulation

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22.1: Modulation
22.2: Tonicization versus Modulation
Studying modulation will require us to distinguish between tonicization, which we studied recently, and modulation. Tonicization, involving secondary chords, can be as short as two chords (VVV/V to VV, for example) but can sometimes encompass several measures as in the following example.
22.3: Key Relationships
In the Baroque and Classical eras, composers typically modulated to the dominant (when starting in a major key) or to the relative major (when starting in a minor key). In the Romantic era, composers experimented with modulating to more remote (or perhaps adventurous) key areas, described as “foreign” to the home key.
22.4: Modulations with Diatonic Pivot Chords
Modulations with pivot chords will be analyzed using a pivot bracket, as we've seen earlier in the chapter. In a diatonic common chord modulation, the pivot chords will be diatonic in both keys.
22.5: How to Recognize a Key After a Modulation
22.6: Modulations with Chromatic Pivot Chords
You will sometimes encounter examples where the pivot chord is a chromatic chord in at least one (and sometimes both) of the keys involved in the modulation. Edit section
22.7: Modulations Without Pivot Chords
22.8: Practice Exercises

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