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Modulation (music)
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Main page "Modulating" redirects here. For other uses, see Modulation (disambiguation).
Contents In music, modulation is the change from one tonality
Current events
(tonic, or tonal center) to another. This may or may not be
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accompanied by a change in key signature. Modulations
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Contact us articulate or create the structure or form of many pieces,
Donate as well as add interest. Treatment of a chord as the tonic Example of modulation from the
for less than a phrase is considered tonicization. tonic to the
Contribute dominant.[1] Play (help·info)
Help
Modulation is the essential part of the art.
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Without it there is little music, for a piece
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derives its true beauty not from the large
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Upload file number of fixed modes which it embraces
but rather from the subtle fabric of its
Key signature change example: C
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modulation. major to C minor.
What links here
— Charles-Henri Blainville (1767)[2]
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Special pages
Permanent link Contents [hide]
Page information 1 Requirements
Cite this page
2 Types
Wikidata item
2.1 Common-chord modulation
Print/export 2.2 Enharmonic modulation

Download as PDF 2.3 Common-tone modulation

Printable version 2.4 Chromatic modulation
2.5 Phrase modulation
In other projects
2.6 Sequential modulation
Wikimedia Commons
2.7 Chain modulation

Languages 2.8 Parallel key modulation

Deutsch
3 Common modulations
Español 4 Significance
Français 5 Other types
한국어 6 See also
Bahasa Indonesia
7 Further reading
Italiano
8 References
Português
Русский 9 External links

18 more
Requirements [ edit ]
Edit links
Harmonic: quasi-tonic, modulating dominant, pivot chord[3]
 Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-
tone[3]
Metric & rhythmic: quasi-tonic and modulating dominant on metrically accented beats,
prominent pivot chord[3]

The quasi-tonic is the tonic of the new key established by the modulation. The modulating
dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating
dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a
modulation to the dominant, ii/V–V/V–V could be a pivot chord, modulating dominant, and quasi-
tonic.

Types [ edit ]

Common-chord modulation [ edit ]

Common-chord modulation (also

known as diatonic-pivot-chord
modulation) moves from the original
key to the destination key (usually a
closely related key) by way of a
chord both keys share: "Most
modulations are made smoother by
using one or more chords that are Common-chord modulation in the opening of Chopin's
common to both keys."[7] For Prelude in C minor, Op. 28, No. 20.[4] Play (help·info)

example, G major and D major have

four triad chords in common: G
major, B minor, D major and E
minor. This can be easily determined
by a chart similar to the one below, Common-chord modulation in Tchaikovsky's Album pour
which compares triad qualities. The I enfants (1887), Op. 39, No. 10, Mazurka[5] Play (help·info)
chord in G major—a G major chord
—is also the IV chord in D major, so
I in G major and IV in D major are
aligned on the chart.

Common-chord modulation in the opening of Mozart's,

Sonata in D Major, K. 284, III[6] Play (help·info)

I ii iii IV V vi viio
G major
G Am Bm C D Em F♯o

IV V vi viio I ii iii
D major o
G A Bm C♯ D Em F♯m
Any chord with the same root note and chord quality (major, minor, diminished) can be used as
the pivot chord. Therefore, chords that are not generally found in the style of the piece (for
example, major VII chords in a J. S. Bach-style chorale) are also not likely to be chosen as the
pivot chord. The most common pivot chords are the predominant chords (ii and IV) in the new key.
In analysis of a piece that uses this style of modulation, the common chord is labeled with its
function in both the original and the destination keys, as it can be heard either way.

Where an altered chord is used as a pivot chord in either the old or new key (or both), this would
be referred to as altered common chord modulation, in order to distinguish the chromaticism that
would be introduced from the otherwise, diatonic method.

Enharmonic modulation [ edit ]

An enharmonic modulation takes

place when one treats a chord as if it
were spelled enharmonically as a
functional chord in the destination
key, and then proceeds in the
destination key. There are two main
types of enharmonic modulations:
dominant seventh/augmented sixth,
and (fully) diminished seventh. Any
dominant seventh or German sixth Modulation from D major to D♭ major in Schubert's Op. 9,
can be reinterpreted as the other by No. 14, D. 365, mm. 17–24, using the German sixth, in the new
key, that is enharmonic to the dominant seventh in the old
respelling the m7 or A6 chord tone
key.[8] Play (help·info)
(respectively) in order to modulate to
a key a half-step away (descending
or ascending); if the fifth-from-root
chord tone of a German sixth is
omitted, the result is an Italian sixth.
A diminished seventh chord
Modulation from A minor to E♭ minor in Schubert's Op.29,
meanwhile, can be respelled in D. 804, I, mm.144-49, using viio7: G♯o7 ≡ Do7 (≡ Bo7 ≡
multiple other ways to form a Fo7)[9] Play (help·info)
diminished seventh chord in a key a
minor third (m3 as root), tritone (d5
as root) or major sixth (d7 as root) away.[10] Where the dominant seventh is found in all diatonic
scales, the diminished seventh is found only in the harmonic scale naturally; an augmented sixth
is itself an altered chord, relying on the raised fourth scale degree.

By combining the diminished seventh with a dominant seventh and/or augmented sixth, altering
only one pivot note (by a half tone), it is possible to modulate quite smoothly from any key to any
other in at most three chords, no matter how distant the starting and ending keys (be aware that,
only when modulating between key signatures featuring double-sharps/flats, may the need to
respell natural notes enharmonically arise); however, this may or may not require the use of
altered chords (operating in the harmonic minor without augmented sixth would not) where the
effect can be less subtle than other modulations. The following are examples used to describe this
in chord progressions starting from the key of D minor (these chords may instead be used in other
keys as borrowed chords, such as the parallel major, or other forms of the minor):
 C♯–E–G–B♭ (dim. 7th), C–E–G–B♭ (lowering the root a semitone to a modulating dom. 7th),
F–A–C (quasi-tonic) takes us to F major—a relative major modulation (though not
enharmonic); but exactly the same progression enharmonically C♯–E–G–B♭, C–E–G–A♯
(Ger. aug. 6th), E–G–B–E (quasi-tonic) takes us somewhat unexpectedly to E
natural/harmonic minor—a half-step modulation (ascending).
C♯–E–G–B♭ (dim. 7th), A–C♯–E–G (lowering the 7th a semitone and respelling as a
modulating dom. 7th), D–F♯–A (quasi-tonic) takes us to the key of D major—a parallel
modulation (though not enharmonic). Enharmonically: C♯–E–G–B♭, A–C♯–E–F (Ger. aug.
6th), C♯–E–G♯ (quasi-tonic) modulates to C♯ minor—a major seventh modulation/half-step
descending.
C♯–E–G–B♭ (dim. 7th), C♯–E♭–G–B♭ ≡ E♭–G–B♭–D♭ (lowering the major third a half tone
and respelling as a modulating dom. 7th), A♭–C–E♭ (quasi-tonic) leads to A♭ major—a minor
third and relative modulation (or tritone modulation if starting in D Major).

Note that in standard voice leading practice, any type of augmented sixth chord favours a
resolution to the dominant chord (see: augmented sixth chord), with the exception of the German
sixth, where it is difficult to avoid incurring parallel fifths; to prevent this, a cadential six four is
commonly introduced before the dominant chord (which would then typically resolve to the tonic to
establish tonality in the new key), or an Italian/French sixth is used instead.

In short, lowering any note of a diminished seventh chord a half tone leads to a dominant seventh
chord (or German sixth enharmonically), the lowered note being the root of the new chord.
Raising any note of a diminished seventh chord a half tone leads to a half-diminished seventh
chord, the root of which is a whole step above the raised note. This means that any diminished
chord can be modulated to eight different chords by simply lowering or raising any of its notes. If
also employing enharmonic respelling of the diminished seventh chord, such as that beginning the
modulation in the above examples (allowing for three other possible diminished seventh chords in
other keys), it quickly becomes apparent the versatility of this combination technique and the wide
range of available options in key modulation.

This type of modulation is particularly common in Romantic music, in which chromaticism rose to
prominence.

Other types of enharmonic modulation include the augmented triad (III+) and French sixth (Fr+6).
Augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to
modulate to another augmented triad in a key: a major third (M3 as root) or minor sixth (A5 as
root) away. French augmented sixth (Fr+6) modulation is achieved similarly but by respelling both
notes of either the top or bottom major third (i.e. root and major third or diminished fifth and
augmented sixth) enharmonically and inverting with the other major third (i.e. diminished fifth and
augmented sixth becomes root and major third of the new Fr+6); either choice results in the same
chord and key modulation (a tritone away), as the diminished fifth always becomes the new root.

Common-tone modulation [ edit ]

Common-tone modulation uses a sustained

or repeated pitch from the old key as a
bridge between it and the new key (common
tone). Usually, this pitch will be held alone
before the music continues in the new key.
For example, a held F from a section in B♭
major could be used to transition to F major.
This is used, for example, in Schubert's Modulation between relative keys, C minor and E♭
Unfinished Symphony. "If all of the notes in major, using a common tone, G, in Schubert's Op.
163 (D. 956).[11] Play (help·info)
the chord are common to both scales (major
or minor), then we call it a common chord
modulation. If only one or two of the notes
are common, then we call it common tone
modulation."[13][self-published source?]

Starting from a major chord, for example G Common-tone modulation between chromatic
major (G–B–D), there are twelve potential mediants in Mozart's K.475[12] Play (help·info)

goals using a common-tone modulation: G

minor, G♯ minor, B♭ major, B major, B minor, C major, C minor, D minor, D major, E♭ major, E
major, E minor.[14] Thus common-tone modulations are convenient for modulation by diatonic or
chromatic third.

Chromatic modulation [ edit ]

A chromatic modulation is so named

because it occurs at the point of a
chromatic progression, one which
involves the chromatic inflection of
one or more notes whose letter
name, thus, remains the same
though altered through an Chromatic modulation in Bach's Du grosser
accidental.[15] Chromatic Schmerzensmann, BWV 300, mm. 5–6[15] ( Play (help·info)
with half cadence, Play (help·info) with PAC) transitions from
modulations are often between keys F major to D minor through the inflection of C♮ to C♯ between
which are not closely related.[15] A the second and third chords. Note that there is no common
secondary dominant or other chord.

chromatically altered chord may be

used to lead one voice chromatically up or down on the way to the new key. (In standard four-part
chorale-style writing, this chromatic line will most often be in one voice.) For example, a chromatic
modulation from C major to D minor:

IV V/ii ii
C major
F A Dm

i
D minor (...)
Dm

In this case, the IV chord in C major (F major) would be spelled F–A–C, the V/ii chord in C major
(A major) spelled A–C♯–E, and the ii chord in C major (D minor), D–F–A. Thus the chromaticism,
C–C♯–D, along the three chords; this could easily be part-written so those notes all occurred in
one voice. Despite the common chord (ii in C major or i in D minor), this modulation is chromatic
due to this inflection.

The consonant triads for chromatic modulation are ♭III, ♭VI, ♭II, ♯iv, vii, and ♭VII in major, and ♮iii,
♮vi, ♭II, ♯iv, ii, and ♮vii in minor.

In the example pictured, a chromatic modulation from F major to D minor:

I V
F major
F C
 D minor V i iv V
A Dm Gm A

In this case, the V chord in F major (C major) would be spelled C–E–G, the V in D minor (A major)
would be spelled A–C♯–E. Thus the chromaticism, C–C♯–D, which is here split between voices
but may often easily be part-written so that all three notes occur in one voice.

The combination of chromatic modulation with enharmonic modulation in late Romantic music led
to extremely complex progressions in the music of such composers as César Franck, in which two
or three key shifts may occur in the space of a single bar, each phrase ends in a key harmonically
remote from its beginning, and great dramatic tension is built while all sense of underlying tonality
is temporarily in abeyance. Good examples are to be found in the opening of his Symphony in D
minor, of which he himself said (see Wikiquote) "I dared much, but the next time, you will see, I
will dare even more..."; and his Trois Chorals for organ, especially the first and third of these,
indeed fulfill that promise.

Phrase modulation [ edit ]

Phrase (also called direct, static, or

abrupt) modulation is a modulation
in which one phrase ends with a
cadence in the original key, and the
next phrase begins in the destination
Phrase modulation in Mozart's Sonata in A major, K.331, III
key without any transition material (Alla turca), mm. 6–10.[16] Play (help·info)
linking the two keys. This type of
modulation is frequently done to a
closely related key—particularly the dominant or the relative major/minor key.

An unprepared modulation is a modulation "without any harmonic bridge", characteristic of

impressionism.[17]

For example:

A E A F B♭ F
A major I V I
F major I IV I

Sequential modulation [ edit ]

"A passage in a given key ending in

a cadence might be followed by the
same passage transposed (up or
down) to another key," this being
known as sequential modulation.[19]
Although a sequence does not have
to modulate, it is also possible to
modulate by way of a sequence. A Sequential modulation in Beethoven's Sonata Op. 53,
sequential modulation is also called movement I[18] Play (help·info)
rosalia. The sequential passage will
begin in the home key, and may
move either diatonically or chromatically. Harmonic function is generally disregarded in a
sequence, or, at least, it is far less
important than the sequential
motion. For this reason, a sequence
may end at a point that suggests a
different tonality than the home key,
and the composition may continue Sequential modulation in Schubert's Piano Sonata in E
naturally in that key. Major, D. 459, movement III[18] Play (help·info)

Chain modulation [ edit ]

See also: Circle progression

Distant keys may be reached

sequentially through closely related
keys by chain modulation, for
example C to G to D or C to C minor
to E♭ major.[21] A common technique
is the addition of the minor seventh
after each tonic is reached, thus
turning it into a dominant seventh Sequential modulation through the circle of fifths in Quartet
chord: Op. 3, No. 3, IV, Hob. III:15,[20] formerly attributed to Haydn
(ca. 1840) Play (help·info)
D → D7 G → G7 C → C7 F
I → V7 I → V7 I → V7 I

Parallel key modulation [ edit ]

A parallel key modulation is a change of mode, but maintains the same tonal center. For example,
one section of a composition may be in the key of E major and then modulate to E minor. This can
be done directly or facilitated by the various modulation techniques described above. Depending
on the length of the modulation and whether or not it returns to the original key, it may or may not
be designated by a change of key signature.

Common modulations [ edit ]

The most common modulations are to closely related

keys (I, V, IV, vi, iii, ii).[23] V (dominant) is the most
frequent goal and, in minor, III (relative key) is also a
common goal.[24] Modulation to the dominant or the
subdominant is relatively simple as they are adjacent
steps on the circle of fifths. Modulations to the relative
major or minor are also simple, as these keys share all
pitches in common. Modulation to distantly related keys is
often done smoothly through using chords in successive
related keys, such as through the circle of fifths, the
entirety of which may be used in either direction:
The circle of fifths drawn within the
D – A – E – B/C♭ – F♯/G♭ – C♯/D♭ – G♯/A♭ – chromatic circle as a dodecagram[22]
D♯/E♭ – A♯/B♭ – F – C – G – D

If a given key were G major, the following chart could be used:

C—G—D
From G (which is the given key), a musician would go P5
(a perfect fifth) above G (which is D) and also P5 below G
(which is C).

From this, the musician would go to G major's relative

minor which is E minor, and potentially to C major and D
major's related minor as well (a musician who does not
know the related minor for C and D major may also go P5
Modulation up a whole step at the
below or above E minor). end of "Because the Night"
Play (help·info)
C — G — D
| | |
Am Em Bm

By using the relative minor keys one can find the specific key that the key can modulate into.

Many musicians use the circle of fifths to find these keys and make similar charts to help with the
modulation.

Significance [ edit ]

In certain classical music forms, a modulation can have structural significance. In sonata form, for
example, a modulation separates the first subject from the second subject. Frequent changes of
key characterize the development section of sonatas. Moving to the subdominant is a standard
practice in the trio section of a march in a major key, while a minor march will typically move to the
relative major.

Changes of key may also represent changes in mood. In many genres of music, moving from a
lower key to a higher often indicates an increase in energy.

Change of key is not possible in the full chromatic or the twelve tone technique, as the modulatory
space is completely filled; i.e., if every pitch is equal and ubiquitous there is nowhere else to go.
Thus other differentiating methods are used, most importantly ordering and permutation. However,
certain pitch formations may be used as a "tonic" or home area.

Other types [ edit ]

Though modulation generally refers to changes of key, any parameter may be modulated,
particularly in music of the 20th and 21st century. Metric modulation (known also as tempo
modulation) is the most common, while timbral modulation (gradual changes in tone color), and
spatial modulation (changing the location from which sound occurs) are also used.

Modulation may also occur from a single tonality to a polytonality, often by beginning with a
duplicated tonic chord and modulating the chords in contrary motion until the desired polytonality
is reached.

See also [ edit ]

Level (music)
Modulating subject
Polytonality
Progressive tonality
Graha bhedam
Further reading [ edit ]

Vincent Persichetti, Twentieth-Century Harmony. W.W. Norton and Company, 1961. ISBN 0-
393-09539-8.

References [ edit ]

1. ^ Boston Academy of Music, Lowell Mason (1836). The Boston Academy's Collection of Church
Music, pp. 16–18. Fourth edition. J. H. Wilkins and R. B. Carter.
2. ^ Forte, Allen (1979). Tonal Harmony in Concept & Practice, p. 265. ISBN 0-03-020756-8.
3. ^ a b c Forte (1979), p. 267.
4. ^ Benward and Saker (2009). Music in Theory and Practice, Vol. II, p. 214. ISBN 978-0-07-310188-0.
5. ^ Forte (1979), p. 307.
6. ^ Benward and Saker (2009), p. 244.
7. ^ Forte (1979), p. 305.
8. ^ Benward & Saker (2009), pp. 214–15.
9. ^ Benward & Saker (2009), p.220.
10. ^ "Enharmonic Reinterpretation" (PDF). Feezell, M. Retrieved 2016-04-05.
11. ^ Meyer, Leonard B. (1989). Style and Music: Theory, History, and Ideology, p. 299.
ISBN 9780226521527.
12. ^ Kostka, Stefan and Payne, Dorothy (1995). Tonal Harmony, p. 321. McGraw-Hill. ISBN 0-07-
035874-5.
13. ^ Briggs, Kendall Durelle (2014). The Language and Materials of Music, p. 198. Lulu.com.
ISBN 9781257996148.[self-published source]
14. ^ Kopp, David (2006). Chromatic Transformations in Nineteenth-Century Music, p. 50. Cambridge
University Press. ISBN 9780521028493. After Marx, Adolph Bernard. Theory and Practice (1837).
Trans. Saroni.
15. ^ a b c Benward and Saker (2003). Music: In Theory and Practice, Vol. I, p. 245. Seventh Edition.
ISBN 978-0-07-294262-0.
16. ^ Benward and Saker (2003), Vol. I, p. 244.
17. ^ Reti, Rudolph (1978). Tonality, Atonality, Pantonality. Westport, CT: Greenwood Press. ISBN 0-313-
20478-0.
18. ^ a b Forte (1979), p.319.
19. ^ Heussenstamm, George (2011). Hal Leonard Harmony & Theory – Part 2: Chromatic.
ISBN 9781476841212.
20. ^ Forte (1979), p.320.
21. ^ Jones, George T. (1994). HarperCollins College Outline Music Theory, p. 217. ISBN 0-06-467168-2.
22. ^ "Prelude to Musical Geometry", p. 364, Brian J. McCartin, The College Mathematics Journal, Vol.
29, No. 5 (Nov., 1998), pp. 354–70. (abstract) (JSTOR) .
23. ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 243. 7th edition. McGraw-Hill.
ISBN 978-0-07-294262-0. "Most modulations occur between closely related keys, which are those
keys that differ by no more than one accidental in the key signature."
24. ^ Forte (1979), p. 269.

External links [ edit ]

Theory on the Web: Modulation

Modulation Types for Musical Analysis
A generalized system for musical modulation
Common-tone Modulation
 V·T·E Musical key [show]

V·T·E Tonality [show]

Categories: Harmony Musical keys Musical scales Tonality

This page was last edited on 31 July 2020, at 12:43 (UTC).

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