We return to the topic of modulations, and from this article you will learn how to play modulations in the key of first-degree kinship. We will look at musical examples of modulations that will be included in the period already known to us. I remind you that this period I used myself in the lessons of harmony in the music school and the conservatory. You can get acquainted with it in its original form in previous articles, for example, here or here.
For example, we take and consider all modulations from major (modulations from minor will be demonstrated in the next article). As is known, each key has a connection with six others, which are related to her in the first degree. For a major such keys are as follows:
1) parallel tone;
2) dominant tone;
3) tonality, which is parallel to the dominant tonality;
4) subdominant tonality;
5) the tonality of the subdominant parallel;
6) the tone of the harmonic subdominant.
Total 6 tonalities: 2 major (S, D) and 4 minor (parallel, parallel S and D, harmonic S).
Modulations to all these tonalities can be made on one general principle - through a common chord. As such a common chord, we will use the tonic of the original tonality, which we will equate to different chords of finite tonality, and then, as it should be, we will introduce a modulating chord, after which a cadence of the new tonality usually follows immediately.
So let's move on to the examples.
Modulation to dominant tonality
To begin, consider the modulation in the dominant tone. How do we define what tonality is? Elementary - we simply build a triad on the fifth step from those sounds that make up the sound scale of the original tonality. For example, in relation to in A major related dominant tonality will be E major (this is the triad we get from the sounds mi, g-sharp and si). I will demonstrate for you a musical example of modulation from C major in G major:
Here is a simple modulating re-construction period of two sentences (each with 4 bars): the first one ends with the dominant initial tone, the second begins with a thematic repetition and then modulates.
Modulation occurs as follows: in the 6th cycle of the tonic C major equals subdominant G major, and already in the 7th bar, a cadan quartesexthkord (K64) is introduced. For clarity, the moment of equating in the functional row is enclosed in a rectangular shape. As a modulating chord, resulting in a cadence of the new tonality, a double dominant introductory seventh chord (DDVII7) with a lower third is used here.
Modulation to the dominant parallel tone
It was not so easy for me to have a modulation in the tonality of the third stage, which is parallel to the dominant one. Tonic C majorwhich we will always consider as a common chord, in mi minor is a sixth-step triad.
Of course, after the sixth step it was possible to immediately take a modulating chord. However, for greater clarity of change of tonality (especially modal mood), I decided to first make a deviation to the subdominant sexthkord (s6) using an introductory tercquartcord (so you should not be surprised if the sexthcord bass doubled - the doubling meets strict harmony rules), after which the modulation is reduced to its logical conclusion is quite simple means.
Modulation to subdominant tonality
Now let's look at the modulation in the subdominant. For C major this in F majorand our common chord (tonic of the original tonality) in in F major will look like a dominant.
Entering into the triad instead of one of the doubled tones of the septim (in this case the prima is doubled, we change its doubling in the tenor), we easily get a D7-chord, which we do not allow the rhinestone in the new tonic, but elliptically replace the sixth-degree triad (as it should be, with doubling in her tertsovy tone). We construct the cadence by modulating chords II65 and DD65 with an increased prima and a lower fifth.
Modulation to the harmonic subdominant
In the same way, you can play the modulation in the tone of the harmonic subdominant. Harmonic major has a lower sixth step, so the subdominant triad in it will be minor (in F minor for C major). Accordingly, after the D7 chord, we move to the low sixth stage (from re flat).
Modulation to subdominant parallel tone
To move to the tonality of the second stage, tonic C major, to our original tonality, we equate to the triad natural 7th step re minorto which we need to go.
As is known, the seventh-stage chord (in the natural minor, it is major) is used very rarely for harmonization, especially in the constructions that precede the casing. It cannot be directly brought to this cadence, bypassing the usual subdominant chords (the VII-stage triad, although not clearly, acts together with the dominant, and therefore cannot precede the subdominant chords). Therefore, for clarity, the manifestations of the new tonality with its minor color before preparing K64 re minorI made a deviation right into the new tonic with the help of an introductory seventh chord (hence the double third in the tonic triad re minor).
Modulation in parallel minor
Well, the last modulation, which will be discussed in this article, is modulation in parallel minor. Here is tonic C major it is equal to the third stage, followed by a deviation to the subdominant, and then, quite simply, development leads to a parallel key.
Conclusion
So, we got acquainted with 6 modulations into related keys of major and analyzed their musical examples. In the next article, similarly, and perhaps somehow differently, examples of modulations from the minor will be shown. If you do not want to skip this article and many other useful materials that will be published in the future, leave your e-mail in the subscription box for the newsletter site and the new article will be sent to you personally to the mail you specified.
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