3 Ways to Modulate from the Same Opening - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
Randolph
The music theory courses I took drew a (fuzzy) distinction between -tonicization- and -modulation-. Part of the distinction relies on the -strength- of the cadence in the new key -- here, all the cadences are what I was taught to label imperfect authentic, so not the strongest type of cadence. Another part of the distinction relates to the context: a tonicization would be fleeting and within a phrase, whereas a modulation would typically continue beyond a single phrase. These might just be American conventions, but I wondered if you had some thoughts about when a move to a new key -feels- permanent vs transitory?
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The music theory courses I took drew a (fuzzy) distinction between -tonicization- and -modulation-. Part of the distinction relies on the -strength- of the cadence in the new key -- here, all the cadences are what I was taught to label imperfect authentic, so not the strongest type of cadence. Another part of the distinction relates to the context: a tonicization would be fleeting and within a phrase, whereas a modulation would typically continue beyond a single phrase. These might just be American conventions, but I wondered if you had some thoughts about when a move to a new key -feels- permanent vs transitory?
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HeavyDevy-C
Very awesome. I was actually in middle of practicing modulations since I always switch keys lol. I think I've heard these called common chords too. The chords that share another scale. I think you can get different effects if you play over the chords. Like if you stay off the note that changes on the modulation the more you can sneak in. Or if you play the note that changes the more you can hear a chromatic going into the new key, which I guess makes it more noticeable.
Btw, the maestro thing looks cool. I might join some time next year for a little bit -
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Very awesome. I was actually in middle of practicing modulations since I always switch keys lol. I think I've heard these called common chords too. The chords that share another scale. I think you can get different effects if you play over the chords. Like if you stay off the note that changes on the modulation the more you can sneak in. Or if you play the note that changes the more you can hear a chromatic going into the new key, which I guess makes it more noticeable.
Btw, the maestro thing looks cool. I might join some time next year for a little bit -
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Wolfram
Modulation is one of the most fun things in music.
Especially when you introduce jazz harmonies, the possibilities seem nearly endless.
I could sit there all evening just figuring out different ways of modulating between two keys.
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Modulation is one of the most fun things in music.
Especially when you introduce jazz harmonies, the possibilities seem nearly endless.
I could sit there all evening just figuring out different ways of modulating between two keys.
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Randy
the examples you explained made it more clear to me, and helped me understand how to use them correctly. I wish there was a poster for all of these key/chord relationships. I do have some notepads on computer I've made however.
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the examples you explained made it more clear to me, and helped me understand how to use them correctly. I wish there was a poster for all of these key/chord relationships. I do have some notepads on computer I've made however.
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MGB
Interesting. I have been doing this without realizing that it was a method of changing keys. Moving to a further away key is something I find more difficult. Someone once suggested -a jazz turnaround-. Didn't really get that one!
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Interesting. I have been doing this without realizing that it was a method of changing keys. Moving to a further away key is something I find more difficult. Someone once suggested -a jazz turnaround-. Didn't really get that one!
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rS17
I think I get it. Does this work with all the keys other than C? By modulating with dominant, subdominant or relative minor I mean. Or is this for certain keys only?
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I think I get it. Does this work with all the keys other than C? By modulating with dominant, subdominant or relative minor I mean. Or is this for certain keys only?
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KN
I am a practicing karnatic musician from kerala (India).
I try to study Western also from different sources.
Thank you so much for the valuable explanations.
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I am a practicing karnatic musician from kerala (India).
I try to study Western also from different sources.
Thank you so much for the valuable explanations.
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Raymoland
Thank you. Simple and clear as always and I especially loved the Melodic vs Harmonic use. I have taken several of your long courses and they are great.
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Thank you. Simple and clear as always and I especially loved the Melodic vs Harmonic use. I have taken several of your long courses and they are great.
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AlyFarahat
Thanks, Gareth, for the crisp explanation. Is then fair to say that following the pivot chord is almost always the dominant chord of the new key?
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Thanks, Gareth, for the crisp explanation. Is then fair to say that following the pivot chord is almost always the dominant chord of the new key?
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Sarbajit
Very useful. I learnt a little these techniques through studying popular Indian melodies. Now I get the right terminology and notational symbols.
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Very useful. I learnt a little these techniques through studying popular Indian melodies. Now I get the right terminology and notational symbols.
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