Songwriting, Part 14 – modulation

Modulation in music is the process of changing from one key to another. Here are some of the most common ways to modulate:

Relative Modulation

• • Moves between major and minor keys that share the same key signature.
  • Example: Moving from C major to A minor.

Why It’s Considered Modulation

1. Change in Tonic:

1. • Despite the same key signature, the tonic (the home note or chord) changes. For instance, in moving from C major to A minor, the tonic shifts from C to A.
   • This shift in tonic can alter the piece’s focus, creating a new sense of resolution and grounding in the new key.

2. Harmonic Function:

1. • The functional harmony changes. In C major, the chords function relative to C, while in A minor, the chords function relative to A.
   • This change affects the progression and resolution of chords within the music, providing a different harmonic context.

3. Compositional Technique:

1. • Composers use relative modulation to create contrast and variety within a piece, often moving to the relative minor to introduce a different section or mood.
   • This technique can serve as a bridge between more distant modulations or provide a smooth transition within the piece.

Pivot Chord Modulation

• • Uses a chord common to both the original and the new key as a bridge between the two keys.
  • Example: Modulating from C major to G major using the chord D minor (ii in C major, vi in G major).

Example Progression:

1. Original Key: C Major:
   • Progression: C – F – G – C.
2. Introduce the Pivot Chord (E Minor):
   • Progression: C – F – Em – G.
3. Transition to the New Key (G Major):
   • Follow the pivot chord with chords in G major.
   • Progression: D (V in G major) – G (I in G major).
4. Establish G Major:
   • Continue with chords that reinforce the new key.
   • Example: G – C – D – G.

Full Example Progression:

                    || C | F | G | C |

| C | F | Em | G |

| C | F | Em | D |

| G | C | D | G ||

Direct Modulation

1. • Changes key without any transitional chords, often after a cadence.
   • Example: Ending a phrase in C major and begin new phrase in Eb

Chromatic Modulation

• • Moves to a new key by altering one or more notes of a chord chromatically.
  • Example: Moving from C major to E major by changing C to C# (which is in the key of E.) C major: C-G-F-Am then C-G-F-A into key of E.  The A chord has c# as it’s third, which is the 6^th note of E.

Sequential Modulation

• • Involves repeating a musical idea at a different pitch level, leading to a new key.
  • Example: A sequence of chords or a melodic pattern that gradually moves to a new key.

Melodic Sequence:

C major: C – D – E – F

↓

D major: D – E – F# – G

↓

E major: E – F# – G# – A

↓

G major: G – A – B – C

Chord Sequence:

C major: C – Dm – G – C

↓

D major: D – Em – A – D

↓

E major: E – F#m – B – E

↓

A major:  A – Bm – E – A

Parallel Modulation

1. • Moves between major and minor keys that share the same tonic.
   • Example: Moving from C major to C minor.

Tonicization

• • Temporarily treats a chord other than the tonic as if it were the tonic.
  • Often a prelude to a modulation, establishing the new key center gradually.

1. Original Key: C Major:
   • Progression: C – G – Am – F.
2. Target Chord: D Minor (ii):
   • To tonicize D minor, we treat it as if it were the tonic.
3. Establishing D Minor as the Temporary Tonic:
   • Use the A major chord (V in D minor) to lead into D minor.
   • Progression: C – G – A – Dm.
4. Applying Tonicization:
   • C – G – A – Dm (A major leads to D minor, making D minor feel like the tonic).
5. Returning to C Major:
   • After tonicizing Dm, we can return to the original key.
   • Progression: || C | G | A | Dm | G | C ||

These methods provide composers with various tools to smoothly or dramatically shift the harmonic landscape of their music.