Analysis of Modulation Worksheet Modulations can be placed into two by delrey

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									                        Analysis of Modulation Worksheet


Modulations can be placed into two groups, those that occur within a phrase or
musical texture, and those that occur between phrases or due to a change in
texture.

Modulations Within a Phrase/Texture
        1. Common Chord Modulation- Find the point in the phrase where the
shift to the new key occurs, then go back one chord and see if this chord is
diatonic in both keys, if so, label it as the pivot chord.

       2. Altered Chord as Pivot Chord- If you are unable to find a diatonic
pivot chord, see if the first chord of the new key can be analyzed as a secondary
dominant (or other altered chord) in the old key, if so label this chord as the pivot
chord.

Modulations Between Phrases/Texures
        1. Sequential Modulation- Sometimes a phrase or part of a phrase is
immediately stated again in a new key. The best explanation for modulations of
this type is sequential modulation. Begin analysis in the new key without using a
pivot chord. Each sequence pattern should contain an analysis similar to the
original pattern, but in a new key.

        2. Common Tone Modulation- This type of modulation is characterized
by a reduction of the texture to a single tone (usually between phrases or parts of
a phrase). This single tone is common to both keys, and functions as a different
scale degree in each key. Mark this tone as you would a pivot chord, indicating its
scale degree function in each key. The two keys in a common tone modulation are
usually, but not always in a chromatic mediant relationship.

        3. Monophonic Modulation- When a modulation is caused by changing
the accidentals in a single unaccompanied line, this is an example of monophonic
modulation. Unless the harmony is clear, just indicate where the change of pitch
collection (scale) occurs and begin analysis in the new key.

        4. Direct/Phrase Modulation- Occasionally, a phrase or section of music
will start in a new key without any type of preparation. Begin analysis in the new
key without using a pivot chord. Try not to use this method for modulations that
occur within phrases.

								
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