![]() ![]() 7th), A ♭–C–E ♭ (quasi-tonic) leads to A ♭ major-a minor third and relative modulation (or tritone modulation if starting in D Major). 7th), C ♯–E ♭–G–B ♭ ≡ E ♭–G–B ♭–D ♭ (lowering the major third a half tone and respelling as a modulating dom. 6th), C ♯–E–G ♯ (quasi-tonic) modulates to C ♯ minor-a major seventh modulation/half-step descending. Enharmonically: C ♯–E–G–B ♭, A–C ♯–E–F (Ger. 7th), D–F ♯–A (quasi-tonic) leads to the key of D major-a parallel modulation (though not enharmonic). 7th), A–C ♯–E–G (lowering the 7th a semitone and respelling as a modulating dom. 6th), E–G–B–E (quasi-tonic) leads somewhat unexpectedly to E natural/harmonic minor-a half-step modulation (ascending). 7th), F–A–C (quasi-tonic) leads 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. 7th), C–E–G–B ♭ (lowering the root a semitone to a modulating dom. 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): 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.īy 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 an augmented sixth would not) where the effect can be less subtle than other modulations. A diminished seventh chord meanwhile, can be respelled in multiple other ways to form a diminished seventh chord in a key a minor third (m3 as root), tritone (d5 as root) or major sixth (d7 as root) away. Any dominant seventh or German sixth can be reinterpreted as the other by respelling the m7 or A6 chord tone (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. There are two main types of enharmonic modulations: dominant seventh/ augmented sixth, and (fully) diminished seventh. 804, I, mm.144-49, using vii o 7: G ♯ o 7 ≡ D o 7 (≡ B o 7 ≡ F o 7) Play ( helpĪn enharmonic modulation takes place when a chord is treated as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. Modulation from A minor to E ♭ minor in Schubert's Op.29, D. 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. 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. The most common pivot chords are the predominant chords (ii and IV) in the new key. Bach-style chorale) are also not likely to be chosen 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. The I 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.Īny chord with the same root note and chord quality (major, minor, diminished) can be used as the pivot chord. This can be easily determined by a chart similar to the one below, which compares triad qualities. ![]() 284, III Play ( helpĬommon-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 to both keys." For example, G major and D major have four triad chords in common: G major, B minor, D major and E minor. ![]() Common-chord modulation in the opening of Mozart's Sonata in D Major, K.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |