Modulation (music)
Encyclopedia
In music
, modulation is most commonly the act or process of changing from one key
(tonic
, or tonal center
) to another. This may or may not be accompanied by a change in key signature
. Modulations articulate or create the structure or form
of many pieces, as well as add interest. Treatment of a chord
as the tonic for less than a phrase
is considered tonicization
.
) by way of a chord both keys share. For example, G major and D major share 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. 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.
Any chord with the same root note and chord quality (major/minor/diminished) can be used as the "pivot chord." However, chords that are not generally found in the style of the piece (for example, major VII chords in a Bach-style chorale) are also not likely to be chosen as the pivot chord. The most common pivot chords are the predominant chord
s (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.
ally 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 diminished seventh
-- by respelling the notes, any dominant seventh can be reinterpreted as a German or Italian sixth (depending on whether or not the fifth is present), and any diminished seventh chord can be respelled in multiple other ways to form other diminished seventh chords. By combining the diminished seventh with a dominant seventh and/or augmented sixth, changing only one pivot note at a time, 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; however, the effect is easily overworked.
(Examples: C-E-G-B, a dominant 7th, becomes C-E-G-A, a German sixth. C-E-G-B, a C diminished seventh, can also be spelled as E-G-B-D, an E diminished seventh, G-B-D-F, a G diminished seventh, and B-D-F-A, a B diminished seventh. Combining the diminished 7th with the dominant 7th/aug.6th: starting again from C diminished seventh, the progression C-E-G-B, C-E-G-A (dom.7th), D-F-A takes us to the key of D major; C-E-G-B, C-E-G-B (dom.7th), C-F-A, to F major; but exactly the same progression enharmonically C-E-G-B, C-E-G-B(dom.7th)=C-E-G-A(aug.6th), B-D-F-B takes us somewhat unexpectedly to B major; C-E-G-B, C-E-G-B=D-E-G-B(dom.7th), C-E-A to A major; etc. )
This type of modulation is particularly common in Romantic music
, in which chromaticism
rose to prominence.
.
. Chromatic modulations are often between keys which are not closely related. A secondary dominant
or other 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:
In this case, the IV chord in CM (F major) would be spelled F-A-C, the V/ii chord in CM (A major) spelled A-C-E, and the ii chord in CM (d minor), D-F-A. Thus the chromaticism, C-C-D, along the three chords; this could easily be partwritten so those notes all occurred in one voice. Despite the common chord (ii in CM or i in dm), this modulation is chromatic due to this inflection.
In the example pictured, a chromatic modulation from FM to dm:
In this case, the V chord in FM (C major) would be spelled C-E-G, the V in dm (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.
in the original key, and begins the next phrase in the destination key without any transition material 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.
does not have to modulate, it is also possible to modulate by way of a sequence. A sequential modulation is also called 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 naturally in that key.
s by chain modulation, for example C to G to D or C to C minor to E major.
, 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.
The most common modulations are to closely related key
s. V is the most frequent goal and, in minor, III is also a common goal. 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:
If a given key were in 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 BELOW or ABOVE E minor.
C-- G -- D
ㅣ ㅣ ㅣ
a e b
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.
, 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. 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.
(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.
Music
Music is an art form whose medium is sound and silence. Its common elements are pitch , rhythm , dynamics, and the sonic qualities of timbre and texture...
, modulation is most commonly the act or process of changing from one key
Key (music)
In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C major or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the...
(tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
, or tonal center
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
) to another. This may or may not be accompanied by a change in key signature
Key signature
In musical notation, a key signature is a series of sharp or flat symbols placed on the staff, designating notes that are to be consistently played one semitone higher or lower than the equivalent natural notes unless otherwise altered with an accidental...
. Modulations articulate or create the structure or form
Musical form
The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections...
of many pieces, as well as add interest. Treatment of a chord
Chord (music)
A chord in music is any harmonic set of two–three or more notes that is heard as if sounding simultaneously. These need not actually be played together: arpeggios and broken chords may for many practical and theoretical purposes be understood as chords...
as the tonic for less than a phrase
Phrase (music)
In music and music theory, phrase and phrasing are concepts and practices related to grouping consecutive melodic notes, both in their composition and performance...
is considered tonicization
Tonicization
In music, tonicization is the treatment of a pitch other than the overall tonic as a temporary tonic in a composition. Tonicization is achieved through the use of the scale and harmonies of the tonicized key. The most common method of tonicization uses leading tones, dominant-tonic chord...
.
Common chord modulation
Common chord modulation (also known as diatonic pivot chord modulation) moves from the original key to the destination key (usually a closely related keyClosely related key
In music, a closely related key is one sharing many common tones with an original key, as opposed to a distantly related key...
) by way of a chord both keys share. For example, G major and D major share 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. 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.
| GMaj: | I | ii | iii | IV | V | vi | vii° |
|---|---|---|---|---|---|---|---|
| DMaj: | IV | V | vi | vii° | I | ii | iii |
Any chord with the same root note and chord quality (major/minor/diminished) can be used as the "pivot chord." However, chords that are not generally found in the style of the piece (for example, major VII chords in a Bach-style chorale) are also not likely to be chosen as the pivot chord. The most common pivot chords are the predominant chord
Predominant chord
In music theory, a predominant chord is any chord which normally resolves to a dominant chord. Examples of predominant chords are the subdominant , supertonic , Neapolitan sixth and German sixth. Other examples are the submediant , secondary dominant , iv and ii°...
s (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.
Enharmonic modulation
An enharmonic modulation takes place when one treats a chord as if it were spelled enharmonicEnharmonic
In modern musical notation and tuning, an enharmonic equivalent is a note , interval , or key signature which is equivalent to some other note, interval, or key signature, but "spelled", or named, differently...
ally 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
Seventh chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a major triad with an added minor seventh...
/augmented sixth
Augmented sixth chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth above its "root" or bass tone . This chord has its origins in the Renaissance, further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods.-Resolution...
, and diminished seventh
Seventh chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a major triad with an added minor seventh...
-- by respelling the notes, any dominant seventh can be reinterpreted as a German or Italian sixth (depending on whether or not the fifth is present), and any diminished seventh chord can be respelled in multiple other ways to form other diminished seventh chords. By combining the diminished seventh with a dominant seventh and/or augmented sixth, changing only one pivot note at a time, 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; however, the effect is easily overworked.
(Examples: C-E-G-B, a dominant 7th, becomes C-E-G-A, a German sixth. C-E-G-B, a C diminished seventh, can also be spelled as E-G-B-D, an E diminished seventh, G-B-D-F, a G diminished seventh, and B-D-F-A, a B diminished seventh. Combining the diminished 7th with the dominant 7th/aug.6th: starting again from C diminished seventh, the progression C-E-G-B, C-E-G-A (dom.7th), D-F-A takes us to the key of D major; C-E-G-B, C-E-G-B (dom.7th), C-F-A, to F major; but exactly the same progression enharmonically C-E-G-B, C-E-G-B(dom.7th)=C-E-G-A(aug.6th), B-D-F-B takes us somewhat unexpectedly to B major; C-E-G-B, C-E-G-B=D-E-G-B(dom.7th), C-E-A to A major; etc. )
This type of modulation is particularly common in Romantic music
Romantic music
Romantic music or music in the Romantic Period is a musicological and artistic term referring to a particular period, theory, compositional practice, and canon in Western music history, from 1810 to 1900....
, in which chromaticism
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. Chromaticism is in contrast or addition to tonality or diatonicism...
rose to prominence.
Common-tone modulation
Common-tone modulation uses a sustained or repeated pitch from the old key as a bridge between it and the new key. 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 Unfinished SymphonySymphony No. 8 (Schubert)
Franz Schubert's Symphony No. 8 in B minor , commonly known as the "Unfinished Symphony" , D.759, was started in 1822 but left with only two movements known to be complete, even though Schubert would live for another six years. A scherzo, nearly completed in piano score but with only two pages...
.
Chromatic modulation
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 accidentalAccidental (music)
In music, an accidental is a note whose pitch is not a member of a scale or mode indicated by the most recently applied key signature. In musical notation, the symbols used to mark such notes, sharps , flats , and naturals , may also be called accidentals...
. Chromatic modulations are often between keys which are not closely related. A secondary dominant
Secondary dominant
Secondary dominant is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period...
or other chromatically altered chord
Altered chord
In music, an altered chord, an example of alteration, is a chord with one or more diatonic notes replaced by, or altered to, a neighboring pitch in the chromatic scale...
may be used to lead one voice chromatically up or down on the way to the new key. (In standard four-part chorale
Chorale
A chorale was originally a hymn sung by a Christian congregation. In certain modern usage, this term may also include classical settings of such hymns and works of a similar character....
-style writing, this chromatic line will most often be in one voice.) For example, a chromatic modulation from C major to d minor:
| CM: | IV | V/ii | ii | |
|---|---|---|---|---|
| Dm: | i | (...) |
In this case, the IV chord in CM (F major) would be spelled F-A-C, the V/ii chord in CM (A major) spelled A-C-E, and the ii chord in CM (d minor), D-F-A. Thus the chromaticism, C-C-D, along the three chords; this could easily be partwritten so those notes all occurred in one voice. Despite the common chord (ii in CM or i in dm), this modulation is chromatic due to this inflection.
In the example pictured, a chromatic modulation from FM to dm:
| FM: | I | V | ||||
|---|---|---|---|---|---|---|
| dm: | V | i | iv | V |
In this case, the V chord in FM (C major) would be spelled C-E-G, the V in dm (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
Romantic music
Romantic music or music in the Romantic Period is a musicological and artistic term referring to a particular period, theory, compositional practice, and canon in Western music history, from 1810 to 1900....
led to extremely complex progressions in the music of such composers as César Franck
César Franck
César-Auguste-Jean-Guillaume-Hubert Franck was a composer, pianist, organist, and music teacher who worked in Paris during his adult life....
, 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
Symphony in D minor (Franck)
The Symphony in D minor is the most famous orchestral work and the only symphony written by the 19th-century Belgian composer César Franck. After two years of work, the symphony was completed 22 August 1888. It was premiered at the Paris Conservatory on 17 February 1889 under the direction of ...
, 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
Phrase (also called direct or abrupt) modulation is a modulation in which one phrase ends with a cadenceCadence (music)
In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music...
in the original key, and begins the next phrase in the destination key without any transition material linking the two keys. This type of modulation is frequently done to a closely related key
Closely related key
In music, a closely related key is one sharing many common tones with an original key, as opposed to a distantly related key...
-- particularly the dominant or the relative major/minor key.
Sequential modulation
Although a sequenceSequence (music)
In music, a sequence is the immediate restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice. It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music...
does not have to modulate, it is also possible to modulate by way of a sequence. A sequential modulation is also called rosalia. The sequential passage will begin in the home key, and may move either diatonically or chromatically
Diatonic and chromatic
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to intervals, chords, notes, musical styles, and kinds of harmony...
. 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
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
than the home key, and the composition may continue naturally in that key.
Chain modulation
Distant keys may be reached sequentially through closely related keyClosely related key
In music, a closely related key is one sharing many common tones with an original key, as opposed to a distantly related key...
s by chain modulation, for example C to G to D or C to C minor to E major.
Parallel key modulation
A parallel key modulation is a change of modeMusical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
, 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
Closely related key
In music, a closely related key is one sharing many common tones with an original key, as opposed to a distantly related key...
s. V is the most frequent goal and, in minor, III is also a common goal. Modulation to the dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
or the subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
is relatively simple as they are adjacent steps on the circle of fifths
Circle of fifths
In music theory, the circle of fifths shows the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys...
. 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:
- D - A - E - B - F/G - C/D - G/A - DE - A/B - F - C - G - D
If a given key were in 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 BELOW or ABOVE E minor.
C-- G -- D
ㅣ ㅣ ㅣ
a e b
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
Circle of fifths
In music theory, the circle of fifths shows the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys...
to find these keys and make similar charts to help with the modulation.
Significance
In certain classical music forms, a modulation can have structural significance. In sonata formSonata form
Sonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
, for example, a modulation separates the first subject from the second subject. Frequent changes of key characterize the development
Musical development
In European classical music, musical development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material, and is often contrasted with musical variation, which is a slightly different means to the same...
section of sonatas. Moving to the subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
is a standard practice in the trio
Trio (music)
Trio is generally used in any of the following ways:* A group of three musicians playing the same or different musical instrument.* The performance of a piece of music by three people.* The contrasting section of a piece in ternary form...
section of a march
March (music)
A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a military band. In mood, marches range from the moving death march in Wagner's Götterdämmerung to the brisk military marches of John...
in a major key, while a minor march will typically move to the relative major.
Changes of key may also represent changes in mood. 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
Permutation (music)
In music, a permutation of a set is any ordering of the elements of that set. Different permutations may be related by transformation, through the application of zero or more of certain operations, such as transposition, inversion, retrogradation, circular permutation , or multiplicative operations...
. However, certain pitch formations may be used as a "tonic" or home area.
Other types
Though modulation generally refers to changes of key, any parameter may be modulated, particularly in music of the 20th and 21st century. Metric modulationMetric modulation
In music a metric modulation is a change from one time signature/tempo to another, wherein a note value from the first is made equivalent to a note value in the second, like a pivot...
(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
Polytonality
The musical use of more than one key simultaneously is polytonality . Bitonality is the use of only two different keys at the same time...
, often by beginning with a duplicated tonic chord and modulating the chords in contrary motion until the desired polytonality is reached.
Further reading
- Vincent PersichettiVincent PersichettiVincent Ludwig Persichetti was an American composer, teacher, and pianist. An important musical educator and writer, Persichetti was a native of Philadelphia...
, Twentieth-Century Harmony. W.W. Norton and Company, 1961. ISBN 0-393-09539-8.