Modulation Types Types for Musical Musica l Analysis
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CHARLES FRANCIS LEINBERGER, PH.D. Modulation Modulat ion Types Types for Musical Analysis Use this table to de termine the the most specifi c type of modulation modulation pos sible , once you have determined if there is a common common chord and whether it is diatonic or chromatic. Is there a common chord?
Is the common chord Diatonic or Chromatic? The common common chord is diatonic.
Possible Modulation Types From least specific (1) to most most specific (9) 1) Diatonic Common Chord (DCC), also called "Diatonic Pivot Chord" The common common chord i s usually just before the new dominant. dominant. It has a diatonic function in both the old key and the new key. 2) Altered Common Chord (ACC), also called "Chromatic Pivot Chord" The common common chord i s usually just before the new dominant. dominant. It has a chromatic chromatic function function in the old key or the new key or both.
The common common chord is chromatic. Yes, there i s a common chord.
3) Enharmonic Modulation using Mm7 Chord ( Enh Mm Mm7), also called "Enharmonic Major-minor 7" The minor 7th of a Mm7 chord i s res pelle d enharmonicall enharmonically y to become an augmen augmented ted 6th. This chord functions functions as a German or Italian Sixth in one key key (either the old o r new key) and a IV7, V7, bVII7 or Secondary Dominant in the other key. 4) Deceptive Cadence (DC) The dominant in the old key goes to vi or bVI in a major key, or VI in a minor key, which becomes the new tonic.
The common common chord can be diatonic or chromatic. chromatic. 5) Enharmonic Modulation using °7 Chord ( Enh °7), also called "Enharmonic °7" The °7 chord is respelled enharmonically so that it has a logical function, either diatonic or chromatic, in both the old a nd the new key. key. 6) Diminished 7 - Major-minor 7 (°7-Mm7)
Lowering any chord member of a °7 chord by a semitone results in a Mm7 chord. Some enharmonic enharmonic spel ling may be necessary. This is usually the the dominant in the the new key. The °7 is often functional in both keys. There might be a common chord, chord, but it' s not required.
7) Chromatic Mediant (CM), also Called "Third Relation" A functional functional chord in the old key moves moves by chromatic chromatic mediant to a functional functional c hord in the new key. A common chord is not necessary, but one may be present. 8) Common Tone Tone Modulation (CTM), als o cal led "Pivot "Pi vot Note" One note note is i s sustained. It is a member member of o f a chord that is functional in the old key and becomes a member of a chord that that is functional in the the new key. key. A chromatic chromatic mediant often exists betwee n these these two chords . A common common chord i s not necessar y, but one may be pres ent.
No, there is no common common chord, chromatic mediant or other logical means possible.
9) Direct Modulation (DM), also called "Linear Motion" There is no possible common chord. There is no chromatic mediant between the last functional functional chord in the old key and the the first firs t functional functional chord in the new key. key. There i s no comm co mmon on tone.
Flats appear as lower-case letter "B"s. (There is no HTML code for a flat sign.) Thanks to Dr. Edward Murphy, The University of Arizona
charlesl home Chord Functions for Musical Analysis Examples of Mod Modulation ulation Types for Musical Analysis An alysis (PDF) Dr. Edward Murphy's "Sonata Form" Essay Instrument Transpositions for Musical Analysis
[email protected] This page was updated 11 August August 2013.
