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Modulation Types For Musical Analysis

This document provides a table to help determine the specific type of modulation in a musical piece based on whether there is a common chord between the keys and whether that chord is diatonic or chromatic. The table lists 9 possible modulation types from least specific to most specific, including diatonic common chord, altered common chord, enharmonic modulation using a major-minor seventh chord, deceptive cadence, and direct modulation. The document also notes that flats are written as lowercase B's.

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293 views

Modulation Types For Musical Analysis

This document provides a table to help determine the specific type of modulation in a musical piece based on whether there is a common chord between the keys and whether that chord is diatonic or chromatic. The table lists 9 possible modulation types from least specific to most specific, including diatonic common chord, altered common chord, enharmonic modulation using a major-minor seventh chord, deceptive cadence, and direct modulation. The document also notes that flats are written as lowercase B's.

Uploaded by

nick mendez
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Modulation Types for Musical Analysis http://utminers.utep.edu/charlesl/modulation.

html

CHARLES FRANCIS LEINBERGER, PH.D.


Modulation Types for Musical Analysis
Use this table to determine the most specific type of modulation possible, once you have determined if there is a common chord and
whether it is diatonic or chromatic.

Is there a common Is the common chord Possible Modulation Types


chord? Diatonic or Chromatic? From least specific (1) to most specific (9)
1) Diatonic Common Chord (DCC), also called "Diatonic Pivot Chord"
The common chord is
The common chord is usually just before the new dominant. It has a diatonic function
diatonic.
in both the old key and the new key.
2) Altered Common Chord (ACC), also called "Chromatic Pivot Chord"
The common chord is usually just before the new dominant. It has a chromatic function
in the old key or the new key or both.
The common chord is 3) Enharmonic Modulation using Mm7 Chord (Enh Mm7), also called "Enharmonic
chromatic. Major-minor7"
Yes, there is a
The minor 7th of a Mm7 chord is respelled enharmonically to become an augmented
common chord.
6th. This chord functions as a German or Italian Sixth in one key (either the old or 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,
The common chord can which becomes the new tonic.
be diatonic or 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 and the new key.
6) Diminished7 - Major-minor7 (7-Mm7)
Lowering any chord member of a 7 chord by a semitone results in a Mm7 chord.
Some enharmonic spelling may be necessary. This is usually the dominant in the new
key. The 7 is often functional in both keys.
7) Chromatic Mediant (CM), also Called "Third Relation"
There might be a common chord, but it's not A functional chord in the old key moves by chromatic mediant to a functional chord in
required. the new key. A common chord is not necessary, but one may be present.
8) Common Tone Modulation (CTM), also called "Pivot Note"
One note is sustained. It is a member of a chord that is functional in the old key and
becomes a member of a chord that is functional in the new key. A chromatic mediant
often exists between these two chords. A common chord is not necessary, but one may
be present.
9) Direct Modulation (DM), also called "Linear Motion"
No, there is no common chord, chromatic There is no possible common chord. There is no chromatic mediant between the last
mediant or other logical means possible. functional chord in the old key and the first functional chord in the new key. There is
no common 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 Modulation Types for Musical
Analysis (PDF)
Dr. Edward Murphy's "Sonata Form" Essay
Instrument Transpositions for Musical Analysis
CHARLESL@UTEP.EDU
This page was updated 11 August 2013.

1 de 1 02/09/2017 07:07 p. m.

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