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22.1: Modulation
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22.2: Tonicization versus Modulation
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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.
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22.3: Key Relationships
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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.
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22.4: Modulations with Diatonic Pivot Chords
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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.
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22.5: How to Recognize a Key After a Modulation
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22.6: Modulations with Chromatic Pivot Chords
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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
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22.7: Modulations Without Pivot Chords
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22.8: Practice Exercises
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