Difference between revisions of "Modulation"
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=== Examples === | === Examples === | ||
| − | * '''I > IV''' - (C > F, F > Bb, G > C) | + | * '''I => IV''' - (C => F, F => Bb, G => C) |
| − | * '''I > V''' - (G > D, C > G, A > E) | + | * '''I => V''' - (G => D, C => G, A => E) |
| − | * '''i > III''' - (Am > C, Em > G, B{{f}}m > D) | + | * '''i => III''' - (Am => C, Em => G, B{{f}}m => D) |
| − | * '''i > {{s}}iv''' - (Ahm > D{{s}}hm) | + | * '''i => {{s}}iv''' - (Ahm => D{{s}}hm) |
== Modulation Methods == | == Modulation Methods == | ||
Revision as of 17:33, 10 June 2014
Modulation is a the practice of changing keys inside of a composition. This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the previous (and possibly even prior) key(s). Typical modulations are found when themes or sections change. They can also be used to seemingly add energy to a prior theme/section.
Contents
PreReqs
Common Modulations
Modulations usually take place between highly-related keys (those with the most common notes). See the table below.
| Key 2 Type | ||||
|---|---|---|---|---|
| Key 1 Type | Key 2 Root's relation to Key 1 Root |
Major | Minor | Harmonic Minor |
| Major | ||||
| U | 4 | 5 | ||
| m2 | 2 | 3 | 3 | |
| M2 | 5 | 6 | 5 | |
| m3 | 4 | 2 | 3 | |
| M3 | 3 | 6 | 5 | |
| P4 | 6 | 3 | 3 | |
| tt | 2 | 4 | 4 | |
| P5 | 6 | 5 | 3 | |
| m6 | 3 | 2 | 3 | |
| M6 | 4 | 7 | 6 | |
| m7 | 5 | 2 | 4 | |
| M7 | 2 | 5 | 4 | |
| Minor | ||||
| U | 4 | 6 | ||
| m2 | 5 | 2 | 4 | |
| M2 | 2 | 5 | 4 | |
| m3 | 7 | 4 | 5 | |
| M3 | 2 | 3 | 3 | |
| P4 | 5 | 6 | 5 | |
| tt | 4 | 2 | 3 | |
| P5 | 3 | 6 | 5 | |
| m6 | 6 | 3 | 3 | |
| M6 | 2 | 4 | 4 | |
| m7 | 6 | 5 | 3 | |
| M7 | 3 | 2 | 3 | |
| Harmonic Minor | ||||
| U | 4 | 6 | ||
| m2 | 4 | 3 | 3 | |
| M2 | 4 | 3 | 3 | |
| m3 | 6 | 4 | 4 | |
| M3 | 3 | 3 | 4 | |
| P4 | 3 | 5 | 4 | |
| tt | 4 | 3 | 4 | |
| P5 | 3 | 5 | 4 | |
| m6 | 5 | 3 | 4 | |
| M6 | 3 | 4 | 4 | |
| m7 | 5 | 4 | 3 | |
| M7 | 3 | 3 | 3 | |
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor). For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key. The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key. Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation. The most related major keys are based on the 6th and ♭7th notes. The most related minor keys are based on the 4th and 5th. Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.
Examples
- I => IV - (C => F, F => Bb, G => C)
- I => V - (G => D, C => G, A => E)
- i => III - (Am => C, Em => G, B♭m => D)
- i => ♯iv - (Ahm => D♯hm)