20a Discussion - Advanced Modulatory Techniques

Modulatory Madness

Let’s review the standard modualtory techniques:

Advanced Modulatory Techniques are all about pivoting to far-off keys by using chords that exist in both keys in different strange ways.

Respelling Diminished Chords:

Using a single diminished chord that functions in a different way in the old and new key.
It is like a pivot chord, except it requires being respelled in the new key in order to function.
Ex: An A^o7 in the key of B^b minor could be respelled into an F^#o7/A and move to the key of G major.
Labeled with a pivot bracket. In the top of the bracket, write the roman numeral for the diminished chord as it functions in the old key, with the inversion based on the proper spelling in the old key. In the bottom of the bracket, write the roman numeral for the diminished chord with the inversion based on how it should be spelled in the new key.
Ex: The A^o7 would be labeled as vii^o7 in the top of the bracket. In the bottom of the bracket, you would put vii^o6/5 to show that the chord was respelled into F^#o7/A.

Respelling Dominant and German Augmented Sixth Chords:

In Example #5, the G⁷ is established as a dominant chord in the key of C. Then, the next time that it occurs, it is enharmonically respelled into a Ger⁺⁶ which leads into the key of B.
In Example #6, a Ger⁺⁶ is used in C as a predominant chord. Then, the next time that it occurs, it is respelled as an Ab⁷ chord, resolving to D^b major.

Modulation #1

This ex is weird because where we hear the modulation is really ambiguous, and you can make an argument for modulating on the bVI or the bII in the second phrase
This and #2 are examples of mode mixture pivot chords! In this technique, we pivot on a borrowed chord. Just like a regular pivot modulation, these generally happen in the middle of a phrase because you need a functional progression on both sides

Modulation #3

Where does this modulation actually happen? Is it a pivot or a phrase modulation?
- Pivot modulation. Remember that there’s a difference b/w a deceptive cadence and a deceptive progression. We can’t do a direct modulation after a deceptive progression because there’s no cadence–the phrase hasn’t ended.
We modulate on the vii07 in the seventh measure! It’s just a respelling of the vii04/2 in the second measure. This is called an enharmonic modulation: by respelling the chord, it takes on a function in the new key. In this case, we’ve pivoting on the respelled vii07
- When writing the pivot, the chord will be spelled in one of the two keys. This means you have to figure out what the inversion would be in the other key. For this example, you would write vii04/2 in the top half of the bracket, and vii07 in the bottom half of the new key. Seeing both chords are vii07, we will know that you are saying the chords are enharmonically equivalent and that you correctly ID’d the technique
You can also modulate using a secondary vii07
Common respelled chords: augmented triads (used as V chords) and Fr+6 (respelled as the Fr+6 of the key a tritone away from the home key–sees VERY little use because this isn’t as flexible)

Modulations #5 and #6

Another enharmonic modulation, this time respelling a V as a Ger+6 in the new key by respelling the seventh. In this example, a G7 is respelled as a Ger+6 in the key of B major just by respelling the F as an E#
In example 5, the Ger+6 has a predominant function. It comes right before I6/4 - V, which are lumped together and have a dominant function
When writing out the pivot bracket where the Ger+6 is in the home key, like in example 6, we would label the chord Ger+6 in the top bracket even though it has been respelled. By putting Ger+6 in the top half of the bracket and V7 in the bottom half, we actually inform whoever is looking at our analysis that we understand it has been respelled
The progression must be functional on both sides for a pivot modulation, but that’s especially true for these weird modulations that pivot on a chord with different functions in each key. For example, in example 6 the Ger+6 has a predominant function, but when it is respelled as a V7 it has a dominant function

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