MUTC 122

MODULATION
Modulation - A change in the perceived tonic.

Modulations are generally accomplished by two or more authentic cadences or a sequence of

chords which establish a new tonal center for the listener. A new key signature is not necessary
for a modulation.

When analyzing a modulation, the new key is designated prior to the first chord of the new key,
and followed by a colon. Most modulations will ultimately return to the home key. This key
must then be restated in the analysis.

Modulations to closely related keys are less abrupt than those which involve a significant change
in note sets. Closely related keys represent only ONE accidental change from the original key
and their relative minors. The closely related Keys to C Major are, F, G, a, d and e. Note that a
key and its parallel major or minor is NOT closely related, as it involves a change of 3
accidentals.

Common types of Modulation

NOTE: a particular modulation may fit more than one category

Sectional modulations
1. Used to provide variety between and define various formal sections of a song - in AABA song
form, B section (bridge) is often in different key
2. Song introductions are often in a different key than body of song
3. Use of accidentals predominates over new key signatures in body of song - except in
Introductions or vocal Introductions (verses)

Modal modulation - parallel major to minor/minor to major

1. Common chord dominant
2. Often used in vocal introductions

Common Chord modulations

1. one chord functions in both old and new keys prior to non-diatonic chord
2. When analyzing, common chord is shown in both old and new keys.

Common Tone modulations

1. single melodic tone is held while underlying harmony changes to new key
2. Often results in a very abrupt (dramatic) transition
Phrase Planing (pronounced as in plain)
1. Repeating of phrase in different key levels, often using only dominant and tonic chords.
This is a common device in the bridges of many songs - the second 4 bars of the bridge being a
repeat of the first 4 in a different (generally higher) key area. It is also a common Sondheim
device.

TRUE or FORMAL Modulation

1. New key signature
2. Effect - often will move key up by half step to increase intensity of arrangement. The longer a
selection is, the more likely modulations will be used to add energy to repeated musical sections.
3. Rarely returns to original key - however, some composers may choose to use key signature
changes for temporary modulations for various reasons.

Items/questions to consider regarding Modulations:

How is the transition accomplished (standard types often include the use of secondary
dominants or deceptive cadences to move to new key)? Does the new key increase or relax
musical tension (i.e., harmonically uplifting or relaxing - consider relationship on the
circle of 5ths)?
How long does the new key maintain - does it return to original key or move thru other
keys before a return to the original key. Is there a pattern of keys which emerge (circle of
5ths, etc.)? Compare and contrast modulation with tonicization
What is the interval involved between key areas?
Is the new key closely related or a remote relationship? DEFINE
Is the new key major or minor?
Is a new key signature used? Accidentals?
Study consistently occurring accidentals to help in determining presence of a modulation.
Common accidentals to look for include: #4 = dominant, b7 = subdominant, #5 = leading
tone of relative minor, etc.
Modally borrowed chords are often used to effect a transition to a new key.
Is the transition abrupt or prepared?
In analysis, new key is stated (uppercase for major, lowercase for minor) followed by colon
prior to first chord of new key.