Modulation (music)

General information

When one module , it can arrive that one remains a certain time in the news Tonalité before turning over in the primitive tonality, or, before going in a third tonality - i.e., before modulating again. If one does not make hear that simple a perfect Cadence, and that one leaves the new tonality at once, one then speaks about momentary modulation . In the contrary case, when the stay in the new tonality is prolonged on several measurements, or even, on several sentences, one speaks about prolonged modulation .

That the modulation momentary or is prolonged, the agreements which constitute it must obviously be analyzed compared to the tonality to which they belong - the opposite would not have any direction.

the last agreement actually belonging to the primitive tonality is called agreement of exit ; the first agreement actually belonging to the new tonality - produced by the modulation - is called agreement of entry . All the difficulty of the modulation lies in the correct sequence of these two agreements. What counts indeed, it is the change of tonality itself, i.e., the passage in the new tonality, or, the “ transition between the agreement from exit and the agreement from entry ”. The remainder of the musical segment - if the stay in the new tonality is prolonged - does not pose problems.

Modulating notes

The modulating notes - also called new notes , or characteristic notes - are notes belonging to the new tonality, but which are foreign with the primitive tonality.

For example, in the modulation of major C towards major D , the two notes modulating is F $\ sharp$ and C $\ sharp$ - five others, D, semi, ground, the and if , being common to both tonalities -; conversely, in the modulation of major D towards major C this time, the two notes modulating is F $\ natural$ and C $\ natural$ .

On the partition, the modulating notes usually appear in the form of accidental weatherings - Dièse, Bémol, Bécarre, etc -, especially in the event of momentary modulation . On the other hand, a modulation prolonged can be accompanied by a change of armor.

It is appropriate to distinguish two types of modulating notes: the constitutive modulating notes and the modulating notes rising from the minor mode .

Modulating notes constitutive

The constitutive modulating notes are the notes usually appearing in the armor of the new tonality - i.e., the constitutive degrees, corresponding to the Transposition of the diatonic scale.

For example, in the modulation of major C towards G major , the significant note F $\ sharp$ , of G major and single new note, is a modulating note constitutive.

The modulation with the relative tonality is the only modulation not producing any modulating note constitutive, since two relative tonalities - for example, major C and it minor - have the same constitutive notes, and consequently, the same armor - on the other hand, such a modulation produces a modulating note well rising from the minor mode.

According to the direction of displacement between the scales constitutive of the two tonalities concerned with the modulation, one will be able to say, either that one goes towards the Dièse S , or that one goes towards the Bémol S .

- When a modulation - other that a modulation towards the relative tonality - involves an addition of sharps - or a subtraction of flat -, it is said that one “ goes towards the sharps ”.

- When a modulation - other that a modulation towards the relative tonality - involves an addition of flat - or a subtraction of sharps -, it is said that one “ goes towards the flat ”.

In the event of plurality of modulating notes constitutive, the degree which makes the difference, in other words, the modulating note characteristic , is: that is to say the last added sharp - or the last cut off flat -, when one goes towards the sharps ; that is to say the last added flat - or the last cut off sharp -, when one goes towards the flat . Indeed, the only presence of this last added deterioration implies the presence of the others. One calls it for this reason, the last note modulating constitutive , or the last deterioration constitutive .

Examples:

Consequently, in a modulation towards a major tonality, the modulating note characteristic - or: last constitutive deterioration - is: that is to say the seventh degree - the sensitive - new tonality, when one “ goes towards the sharps ”; that is to say the fourth degree of the new tonality, when one “ goes towards the flat ”.

On the contrary, in the event of modulation towards a minor tonality, the modulating note characteristic is: that is to say the second degree of the new tonality, when one “ goes towards the sharps ”; that is to say the sixth degree of the new tonality, when one “ goes towards the flat ”.

Modulating notes rising from the minor mode

A modulating note rising from the minor mode is, either an unspecified degree transformed into sensitive of the minor mode, or on the contrary, sensitive taking again its initial height.

For example, in the modulation of major C towards it minor , the armor not changing, ground $\ sharp$ - sensitive of it minor - is a modulating note rising from the minor mode; in the same way, and for the same reasons, in the modulation of it minor towards major C , ground $\ natural$ - dominant of major C - is also a modulating note rising from the minor mode.

According to the modulation, it can have there, either, one or more modulating notes constitutive, or, one or two modulating notes rising from the minor mode, or still, a combination of these two possibilities.

For example, the modulation of it minor towards semi minor , produces a modulating note constitutive - F $\ sharp$ - and two modulating notes rising from the minor mode - ground $\ natural$ and D $\ sharp$ .

Relative distance between two tonalities

Among the seven degrees constitutive of two Tonality S given, one finds a certain number of common notes and a certain number of different notes. The common notes and the different notes make it possible to appreciate the relative distance between these two tonalities.

For example, the tonalities of major C and G major - six common notes and a different note - are close ; on the contrary, those of major C and major C sharp - no common note, and consequently, seven different notes -, are very distant .

is described as close tonalities , two tonalities not having more than one modulating note constitutive of difference. A given tonality thus has five close tonalities: the tonality of dominant, the tonality of the sub-dominant, the relative tonality, and finally, tonalities of dominant and the sub-dominant of the relative tonality.

For example, the tonalities close to major C are: G major, major F, it minor, semi minor and minor D .

is qualified contrary to distant tonalities , two tonalities having more than one modulating note constitutive of difference.

For example, always compared to major C , the following tonalities is distant: major D, minor ground, major E flat, minor, semi F sharp major, etc

In addition, the relationship between a given tonality and each one of its five close tonalities can vary between one and three deteriorations of difference, taking into account, this time, not only of the modulating notes constitutive, but also, of the modulating notes rising from the minor mode. Thus one can distinguish, on the one hand the principal close tonalities - having only one deterioration of difference -, on the other hand the secondary close tonalities - having more than one deterioration of difference.

During the 17th century, the modulations are generally carried out among the only close tonalities ; then, gradually, at the following centuries, the modulations occur in distant tonalities more and more .

Tonalities close to the major mode

For a major Tonality, the tonality of the Dominant , that of the Sub-dominant and the minor relative tonality, have each one a deterioration of difference; those of dominant and the sub-dominant of the minor relative tonality, have two of them.

a major tonality thus has three principal close tonalities, and two secondary close tonalities:

Tonalities close to the minor mode

For a minor tonality, the major relative tonality, has only one deterioration of difference; the tonalities of dominant and the sub-dominant of the major relative tonality, have each one of it two; those of dominant and the sub-dominant of the minor tonality, have three of them.

a minor tonality thus has a principal close tonality, and four secondary close tonalities:

Juxtaposition of tonalities

The passage between a given tonality and a principal close tonality can be done without resorting to a modulation, i.e. by simple juxtaposition of tonalities, in particular in the case of a return to the primitive tonality.

Example:

Two great processes of modulation

There exist mainly two manners of modulating, according to whether one calls or not upon the agreements of transition .

It is appropriate to note as a preliminary that a modulation without agreement of transition is successful when at least one of the two agreements which are connected is a agreement of four or five notes; for a modulation in harmony purely consonante, the use of the agreements of transition thus is generally recommended.

the various processes described hereafter - with or without agreements of transition - can obviously be combined between them.

It is thus for example, which a chromatic modulation can produce the Neapolitan sixth new tonality; or, that a modulation with agreements of transition can lead to the homonymous of the close tonality, etc

Modulation with agreements of transition

This type of modulation - also called diatonic modulation - consists in intercalating between the agreement of exit and the agreement of entry, one or more agreements of transition - still called mixed-type agreements -, i.e., of the agreements belonging at the same time to the primitive tonality and the news. For this reason the modulation with agreements of transition is sometimes called modulation by confusion of degrees. This one relates to mainly the close tonalities, but in certain particular cases, it can also make it possible to reach distant tonalities.

One usually considers that the agreements of transition belong to the new tonality.

Ordinary modulation by the preparatory agreements

In this case, the agreements of transition are preparatory agreements, this in order to have only goods or better sequences: they are mainly degrees II and IV, possibly, of the Life or of Ist When there are several consecutive agreements of transition, it are highly recommended that which immediately precedes the agreement by entry is IIe or IVe degree of the new tonality.

When one modulates towards a secondary close tonality, it is also recommended - but nonobligatory however - to make precede the perfect Cadence by the new tonality of a preparatory agreement containing last constitutive deterioration - except if this one is the sensitive one - so that perfect rate is felt like the result of a former phenomenon (examples D, G & H). It is advisable to add however that the quad and sixth of rate preceding perfect rate by the new tonality, from its strongly tonal character, exemption of the use of this type of agreement (examples B, C, E, F & I).

the quad and sixth of rate - second inversion of Ier degree -, whose strongly tonal character effectively underlines a given tonality, should not however not be regarded an agreement of transition in this case, but well as an agreement actually belonging to the new tonality.

In the following examples, “S” means agreement of exit , “T”, agreement of transition , and “E”, agreement of entry .

1. Modulation with the close tonalities since major C :

2. Modulation with the close tonalities since it minor :

Modulation with the tonalities moved away by agreements from transition

The ordinary modulation by the preparatory agreements is not appropriate that with the close tonalities, if not, this one must take place by stages, i.e., while modulating successively in various transitory tonalities. For example, to modulate major C towards major D - distant tonality -, one can initially modulate in semi minor - tonality close to major C -, before going towards major D - tonality close to semi minor .

It is however possible to reach a tonality moved away, without truly modulating in the transitory tonalities - i.e., therefore, without using perfect rates of these tonalities. In the example K, the primitive tonality is major C , that of the arrival, minor ground , distant tonality - two constitutive flat. Each successive tonality is close to the preceding one: major F is close to major C , major B flat is close to major F , and finally, minor ground is close to major B flat . However, in the absence of perfect rates, it does not have there strictly speaking modulation in major F and major B flat . The agreements belonging to these tonalities must thus be analyzed like agreements of transition, in the modulation of major C towards minor ground . Such a process of modulation is at the bottom only one particular case of ordinary modulation by agreements of transition.

One will note in the passing that in this type of process, certain agreements of transition can belong to more than two tonalities. It is the case of the eighth agreement of the example K - announced by an asterisk -, which is at the same time, Ier degree of minor ground , IIe degree of major F , and Life degree of major B flat .

In conclusion, whatever the process of modulation, the important remainder that the sequence of fundamental the of the various agreements of transition is always of good or excellent sequences.

Example:

Modulation with the homonymous tonality

The homonymous tonality - three deteriorations constitutive of difference - can be reached by a modulation with agreement of transition; in this case, the agreement of transition is the agreement of dominant , the only one which is truly common to both modes, the characteristic notes being degrees III and VI - notes known as modal . This type of modulation is very easy to realize.

Example:

Enharmonic modulation by change

A Enharmonie, let us recall it, indicates the interval of decreased second - for example, between do $\ sharp$ and ré $\ flat$ -, which is equivalent to a unison right in the moderate music. The enharmonie makes it possible to rename certain sounds without modifying to them height, and thus, to reach very distant tonalities easily. In this case, the agreement of transition is at the same time, an unspecified degree of the primitive Tonalité, and Ier or Ve of the new tonality. Usually its orthography is determined by the new tonality. When the enharmonie is implemented, the effect of the modulation is more surprising and more radical.

Examples:

Modulation by the Neapolitan sixth

The Neapolitan sixth of the news Tonalité can be used like agreement of transition. It is enough for that to choose in the primitive tonality, a major triad - is Ve degree in the two modes; that is to say Ier or IVe in the major mode; that is to say still, Life in the minor mode -, and to lay out it with the state of an agreement of sixth with its low doubled. This type of modulation makes it possible to reach the tonality located one second minor below fundamental of the Neapolitan sixth. This new tonality can be close (example Q) or distant (example P).

Examples:

Modulation without agreement of transition

In this second great process of modulation, the agreement of exit and the agreement of entry are connected without the least agreement of transition, but by complying with the rule “ saving in movement ” - common note which remain in place, by unison right or enharmonie, and joint movement preferably. This modulation is often baptized chromatic modulation because it is always accompanied - almost - by a chromatic Mouvement.

It is appropriate not to confuse modulation without agreement of transition and simple juxtaposition from tonalities. The latter can take place, either in the event of return to the primitive tonality, after modulation in a principal close tonality, or in the event of two independent musical fragments, separated by silences.

Thanks to the chromatic movement, one can immediately obtain an agreement very far away from the initial tonality, and which will be agreement of tonic or dominant new tonality. A chromatic modulation obviously also makes it possible to reach a simple close tonality.

According to whether the agreement of entry is or not a Accord of three notes, the conditions of realization of this type of modulation are appreciably different.

When the agreement of entry is an agreement of three notes

In this case, this agreement is, either the tonic agreement of , or that of dominant of the news Tonalité. The condition is that the two agreements which are connected have at least a common note.

If the agreement of exit is an agreement of three notes

On this first assumption, the agreement of exit can be any degree of the primitive tonality, and the Fondamentale S of the two agreements are located at a third distance from - major or minor.

Examples:

If the agreement of exit is an agreement of more than three notes

On this second assumption, the agreement of exit is almost always an agreement of dominant. There is thus business generally with a gives rhythm broken, in other words, with a exceptional resolution of the agreement of seventh or ninth of Dominante.

Examples:

When the agreement of entry is an agreement of more than three notes

In this case, this agreement is always an agreement of seventh - or ninth - of dominant, powerful tool for modulation. The two agreements which are connected can then do without common note (examples I, L, M and P).

If the agreement of exit is an agreement of three notes

In this third process, the agreement of exit can be any degree of the primitive tonality. Any agreement of three notes can produce any agreement of seventh - or ninth - of Dominante.

Examples:

If the agreement of exit is an agreement of more than three notes

In this fourth process, the agreement of exit can be indifferently an agreement of seventh - or ninth - of dominant, or species. It is about the most current assumption and most easily realizable. Indeed, the presence of the two seventh - and possibly, that of the ninth - facilitates the transition between the two Tonalité S.

Examples:

See too

Internal bonds

Agreement (music)
Agreement moving
Agreements of loan
Agreement of three notes - Agreement of four notes - Agreement of five notes
Rates
Ranges and temperaments
theoretical and technical Glossary of the elementary Western music
tonal Harmony
harmonic Walk
melody Movement
harmonic Movement
foreign Note
Musical theory
tonal System

External bonds

modulation with the manner of Joe Satriani

Simple: Modulation (music)

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