KEY CONCEPT Modern classification is based on evolutionary relationships.
Key Relationships
description
Transcript of Key Relationships
Key RelationshipsAP 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• 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
• 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