Key Relationships AP MUSIC THEORY 2014

Mode Mixture Combining keys from MAJOR and PARALLEL MINOR OR Mixing the PARALELL MAJOR and MINOR MODES use flat3, flat6, flat 7

Mixture Chords in Minor Borrow or MIX chords from parallel minor when in minor tonality Reflects RAISED 7th SCALE DEGREE of harmonic form Dominant chord: minor v to major V – Leading Tone chord: VII to viidim Common practice: Picardy third (altering the 3rd of the chord)

MODULATION WHEN? Consistent reoccurance of same accidentals IF RNA has atypical progressions in current key THEN… Shifting tonal centers Defined: Process of moving from one tonal center to another, with or without changing the key signature

MODULATION Temporary tonicization DIFFERENCE? Temporary sense of new tonic Addition of 1 or 2 non-diatonic chords DIFFERENCE? Simply passing through (region OR area) Modulation: convincing cadence AND significant time in a new key (larger area of work)

MODULATION Stages Closely related keys = common chords Establish the first key The modulation device Establishment of new tonal center Closely related keys = common chords Each key has 5 closely related keys (Differ by no more than 1 accidental) Relative major or minor The key with one more sharp or flat and its relative The key with one less sharp or flat and its relative

MODULATION Within a phrase is the “common chord” or “pivot modulation” Pivot chord: diatonic to BOTH keys Common Chord: ii or IV in NEW key Where the tonality shifts JUST BEFORE accidental or altered chord Direction modulation No use of common chord Chromatic modulation – direct modulation occurs WITHIN a phrase (chromatically altered note in SAME VOICE) Phrase modulation – direct modulation BETWEEN phrases

EXAMPLES P. 257-258