In music, the most common modulation is the action or process of change from one key (tonic, or tone center) to another. This may or may not be accompanied by a change of key signature. Modulation articulates or creates the structure or shape of multiple pieces, and adds interest. Treatment of chords due to tonic less than one phrase is considered tonicization.
Modulation is an important part of art. Without it there is little music, for a piece to get true beauty not from a large number of fixed modes attached but from the fine fabric of its modulation.
Video Modulation (music)
Requirements
- Harmonies: quasi-tonic, dominant modulation, pivot axis
- Melodic: a recognizable segment of the early quasi-tonic or strategically placed tone scale
- Metrics & amp; rhythmic: quasi-tonic and dominant modulation on metrically accented beats, prominent pivot chords
The quasi-tonic is a new key tonic set by modulation. The dominant modulator is dominant from quasi-tonic. The pivot chord is dominant in the dominant modulation and the same chord for both tonic and quasi-tonic keys. For example, in modulation to dominant, ii/V-V/V-V can be a pivot shaft, dominant modulation, and quasi-tonic.
Maps Modulation (music)
Type
common-chord modulation
Common-chord modulation (also known as diatonic-pivot-chord modulation) moves from real key to destination key (usually a closely related key) to a key-shared key: "Most modulations are made smoother by using one or more chords common for both buttons. "For example, G major and D major have the same four chords: G major, B minor, D major and E minor. This can be easily determined by a graph similar to the one below, which compares the quality of the triads. Akord I in G major - Gordon chord G - is also the IV chord in D major, so I am in G major and IV in D major on the chart.
Each chord with the same root tone and chord quality (major, minor, reduced) can be used as a pivot chord. However, chords that are not generally found in cut styles (eg, VII major chords in J. S. Bach's chorale style) are also unlikely to be chosen as pivot chords. The most common pivot chords are the main chords (ii and IV) on the new key. In a chunk analysis that uses this modulation style, the common chord is labeled with functionality both on the original and the destination, as it can be heard well.
Where the modified chord is used as a pivot chord in either the old or new key (or both), it will be referred to as chord modulation modification, to distinguish the chromaticism to be introduced from another, diatonic method.
Enharmonic modulation
An enharmonic modulation occurs when a person treats a chord as if it is spelled enharmonically as a functional chord in the destination key, and then proceeds to the destination key. There are two main types of enharmonic modulation: the seventh/sixth dominant plus, and (fully) reduced to seventh. Every seventh or sixth dominant German can be reinterpreted as another by requesting the m7 or A6 (respectively) tones to modulate into a half step lock away (down or up); if the fifth of the chord tone of the German sixth tone is omitted, the result is Italy's sixth. The temporarily lost seventh chord can be responded in several other ways to form the seventh chord that is reduced in a minor third (m3 as root), tritone (d5 as root) or six major (d7 as root) keys. Where the seventh dominant is found on all diatonic scales, the seventh is reduced only found in a harmonious scale naturally; the enlarged six itself is a change of tone, depending on the level of the raised fourth scale.
By combining sevenths that are minimized by the seventh and/or six additional dominant ones, only changing one pivot note (with half the tone), it is possible to modulate quite smoothly from any key to another in at most three chords, no matter how far the key start and end (know that, only when modulation between the main key signature that displays double-sharp objects/flat, may be the need for respell natural note to increase); However, this may or may not require the use of modified chords (operating in minor harmonics without sixth addition will not) where the effect can be less subtle than other modulations. The following is an example used to illustrate this in the chord progressions starting with the D minor key (this chord can be used on another key as a borrowed chord, such as parallel majors, or other minor forms):
- C ? -EGB ? (dim 7), CEGB ? (lowers the semitone root to dom modulation.7), FAC (quasi-tonic) leads us to F major - relative main modulation (though not enharmonic); but exactly the same development automatically C ? -EGB ? , CEGA ? (August 6th), EGBE (quasi-tonic) brings us unexpectedly to the natural E/minor harmonics - half-step modulation (up).
- C ? -EGB ? (dim 7), AC ? -EG (lower 7th semitone and respelling as modating dom 7), DF ? -A (quasi-tonic) takes us to the primary D key - parallel modulation (though not enharmonic). Enharmonically: C ? -EGB ? , AC ? -EF (August 6th), C ? -EG ? (quasi-tonic) modulate to C ? minor - modify the seventh main/half step down.
- C ? -EGB ? (dim 7), C ? -E ? -GB ? ? E ? -GB ? -D ? (decreases one third of the half tone and respelling as moding dom 7), A ? -CE ? (quasi-tonic) leads to A ? minor minor and relative modulation (or tritone modulation if started in D Major).
Notice that in standard sound practice, all six enlarged chord types favor the resolution of the dominant chord (see six enlarged chords), with the exception of the six Germans, where it is difficult to avoid the appearance of the fifth parallel; to prevent this, the sixth cadastre is usually introduced before the dominant chord (which would normally decide for a tonic to set the tone of voice in a new key), or the sixth Italian/French are used instead.
In a nutshell, lowering the tone of the seventh chord which is reduced by half a tone leads to the dominant seventh chord (or the sixth of Germany automatically), the tone being lowered to a new chord root. Lifting each note from a seventh chord that is reduced by half the tone leads to a diminished seventh chord, the root which is the whole step above the raised tone. This means that any reduced chord can be modulated into eight different chords by simply lowering or raising the notes. If also using resparmonic respelling of the missing seventh chord, as it initiates the modulation in the above example (allowing for the other three possible seventh chords that may be diminished in another key), it quickly becomes clear the flexibility of this combination technique and the wide range of options available in key modulation.
This type of modulation is very common in Romantic music, where chromaticism becomes famous.
Other enharmonic modulation types include additional triads (III) and French sixth (Fr 6 ). Augmented triad modulation occurs in the same way as the seventh is reduced, that is, to modulate additional triads in a key: one-third (M3 as root) or the sixth minor (A5 as root). The sixth French modification (Fr 6 ) modulation is achieved equally but by respelling the two notes of the upper or lower major (ie the root and the third major or decreasing the fifth and the sixth plus) increasing and reversing with another one-third of the major (ie the fifth decrease and the sixth being root and the main third of the new Fr 6); the result of choice in both the chord and the same key modulation (far tritone), because the fading five is always the new root.
Tone modulation
Tone-general modulation uses continuous or repetitive tones of old keys as a bridge between it and a new key (common tone). Typically, this throw will be held alone before the music continues in the new key. For example, F is held from a part in B ? major can be used for transition to F major. This is used, for example, in Schubert's Unfinished Symphony. "If all the notes in the common chord for both scales (major or minor), then we call it common chord modulation .If only one or two tones are common, then we call it /i>. "
Starting from the major chord, eg G major (GBD), there are twelve potential uses of shared-tone modulation: G minor, G ? minor, B ? Major, B minor, C major, C minor, D minor, D major, E ? major, E major, E minor. Thus a common tone modulation is convenient for modulation by diatonic or chromatic third. Chromatic modulation
A colored modulation is so named because it occurs at a colored developmental point, which involves a color inflection of one or more notes whose letter name, thus, remains the same even though it is changed through a coincidence. Chromatic modulation is often between keys that are not closely linked. Other dominant or chromatically altered secondary roots can be used to lead one chromatically sound up or down on the way to a new key. (In a standard four-part chorale style, this colored line is most often in one voice.) For example, color modulation from C major to D minor:
In this case, the IV chord in C major (F major) will be spelled FAC, the V/ii chord in C major (A major) is spelled AC ? -E, and chords ii in C major (D minor), DFA. Thus chromaticism, C-C ? -D, along the three chords; this can be easily written so notes all happen in one voice. Despite the common chord (ii in C major or i in D minor), this modulation is colored due to this inflection.
In the illustrated example, the color modulation from F major to D minor:
In this case, the V chord in F major (C major) will be spelled C-E-G, V in D minor (A major) will be spelled A-C ? -E. Thus, chromaticism, C-C ? -D, which is here split between the voices but may often be partially written so that all three tones appear in one voice.
The combination of color modulation with enharmonic modulation at the end of Romantic music led to very complex developments in music composers such as CÃÆ' Â © sar Franck, where two or three key shifts can occur in a single bar space, each phrase ending in a key harmoniously away from the start , and great dramatic tension is built while all the senses of underlying tone of voice are temporarily overcome. Good examples can be found in the opening of his Symphony in D minor, which he himself says (see Wikiquote) "I dare to much, but other times, you'll see, I'll dare even more..."; and his Trois Chorals for these organs, especially the first and third ones, did fulfill that promise.
Phrase modulation
The phrase (also called direct, static, or abrupt) modulation is a modulation in which one phrase ends with a rhythm in the original key, and starts the next sentence in the destination key without the transition material connecting the two keys. This type of modulation is often done for closely related keys - especially the dominant or relative major/minor key.
Unsupplied modulation is "without harmonic bridge modulation", characteristic of impressionism.
As an example:
Sequential modulation
"A part in the end of a key given in rhythm may be followed by the same part being diverted (up or down) to another key," this is known as sequential modulation. Although the sequence does not have to modulate, it is also possible to modulate it through a sequence. Sequential modulation is also called rosalia. The sequential part will begin at the house key, and can move either diatonically or chromatically. Harmonic function is generally ignored in sequence, or, at least, it is far less important than sequential motion. For this reason, the sequence may end at a point indicating a different tone of voice from the house key, and the composition may continue naturally in that key.
Chain Modulation
Remote buttons can be reached sequentially through keys that are closely related to chain modulation, eg from C to G to D or C to C minor to E ? major. A common technique is the addition of the seventh minor after each tonic is reached, thus turning it into the dominant seventh chord:
Parallel lock modulation
Parallel key modulation is a change of mode, but maintains the same center of tone. For example, one part of the composition may be in key E major and then modulated 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 is returned to the original key, it may or may not be designated by a change of key signature.
General modules
The most common modulation is the closely related key (I, V, IV, vi, iii, ii). V (dominant) is the most frequent goal and, in minor, III (relatively key) is also a common goal. The modulation to the dominant or subdominant is relatively simple because they are a step close to the fifth circle. Modulation to major or minor relative is also simple, since these keys share all the tones in general. The modulation for the far-flung key is often done smoothly using the chords in consecutively related keys, such as through the fifth circle, the whole can be used in both directions:
- D - A - E - B/C ? - F ? /G ? - C ? /D ? - G ? /A ? - D ? /E ? - A ? /B ? - F - C - G - D
If the key is G major, the following chart can be used:
From G (which is the key given), a musician will go P5 (five perfect) above G (the D) and also P5 below G (which is C).
From this, musicians will go to minor minor G major E minor, and potentially for major and minor C's associated with D major as well (a musician who does not know the corresponding minor to C and D major can also go P5 below or above E minor).
Using a relative minor key can be found a special key that can be modified by a key.
Many musicians use the fifth circle to find these keys and create similar charts to help with modulation.
Significance
In the form of certain classical music, modulation can have structural significance. In the form of a sonata, for example, modulation separates the first subject from the second subject. Key changes that often characterize the development of the sonata. Moving to a subdomain is standard practice in the trio parade section in the primary key, while a small parade will usually move to a relative majors.
Key changes can also represent mood swings. In many musical genres, moving from the lower key to the higher often shows an increase in energy.
Key changes are not possible in a full tone or twelve tone technique, because the modulator room is fully charged; ie, if every pitch is the same and everywhere there is nowhere else to go. Thus other differentiating methods are used, most importantly ordering and permutation. However, certain pitch formations can be used as "tonics" or home areas.
Other types
Although modulation generally refers to key changes, any parameters can be modulated, especially in music in the 20th and 21st centuries. Modulation metrics (also known as tempo modulation) are the most common, while timbral modulation (gradual change in tone) and spatial modulation (changing the location from which sound occurs) are also used.
Modulation can also occur from a single tone of voice to polytonality, often beginning with a duplicated tonic chord and chord modulation in opposite motion until the desired polityity is achieved.
See also
- Rate (music)
- Modulate the subject
- Polytonality
- Progressive sound tone
- Graha bhedam
Further reading
- Vincent Persichetti, Twentieth-Century Harmony . W.W. Norton and Company, 1961. ISBNÃ, 0-393-09539-8.
References
External links
- Theory on the Web: Modulation
- Modulation Types for Music Analysis
- Common system for music modulation
- Common-tone Modulation
Source of the article : Wikipedia
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