16c Lesson - Alternate modulatory methods

Class discussion

Pivot chord - common chord between two keys used to modulate from one key to the next. Chord must function in both keys.

Accidentals are the first sign of modulation; they can seem out of place. Typically, you can find the pivot chord right before the chord this accidental. Be sure to check that the pivot chord functions in both keys.

Bach Chorale no. 95 example - Where is the pivot chord that gets us from Bb major to a new key?

• Start by finding lead sheet notation
• Modulates to C minor
• Pivots on a secondary function (Bo/D). It is the only way to explain the modulation.
• Pivot chord cannot be F because in C minor, F minor is the IV chord.

Bach Chorale - Erkenne mich, mein Huter - Where is the pivot chord that gets us from E major to a new key?

• Start by finding lead sheet notation
• Modulates to C# minor
• If you label non-chord tones, you will find a suspension in the tenor part three chords from the end.
  • This simple acknowledgement makes it much easier to analyze the last few chords.
• E major is a diatonic chord in C# minor, BUT if that is your pivot chord you end up with III going to viio, doesn’t make sense
• Direct (Phrase) modulation - Phrase ends, and new phrase immediately starts in new key
  • Often used in Broadway tunes, bridges to jazz standards
  • Do not use a bracket for these modulations

Schubert - Wehmut

• Key of D minor to F# major
• Common Tone modulation - common tone between two keys used as pivot, rather than entire chord
  • use a bracket to show these, but use scale degrees in
• Chords A major to C#7 - uses C# as pivot to modulate
  • In D minor, C# is 7th scale degree
  • In F# major, C# is 5th scale degree

Old class discussion notes

Alternate Modulatory Methods

Direct Modulation (Phrase Modulation)

Ex: Bach Chorale Erkenne mich mein Huter

Lead sheet: B - E (on fermata) - B#o/D# In E: V - I - x In c#min: x - III - viio6

• why does this not work?
  • the III to viio is not a functional progression
• it modulates to the relative minor

BUT because we have the fermata and the end of a phrase, we have a direct modulation (or phrase modulation) and it’s okay! This is a direct (or phrase) modulation. These are commonly used in pop and Broadway music to build emotion. When labeling them in analysis, you don’t need the pivot chord bracket. Again, if you find a common chord pivot modulation first, use that.

There is a hierarchy of modulations:

1. Common Chord Pivot Modulations
2. Secondary Function Pivot Modulations
3. Direct Modulation (Phrase Modulation)

Common Tone Modulation

Common tone modulations occur when a modulation happens through one note being common in both keys.

• this note has to be emphasized
  • in D minor, the C# can be used to modulate to F# major.
  • in A major, the C# can be used to modulate to F# major.
• this can be any scale degree

Isolating the common tone with nothing else around it can give your ear a break from the past key enough to introduce any ney key. We label these with pivot brackets, but instead of chords we put scale degrees.

In the hierarchy:

1. Common Chord Pivot Modulations
2. Secondary Function Pivot Modulations
3. Direct Modulation (Phrase Modulation)
4. Common Tone Modulation