Several factors govern the effects of modulation. For example, simply put major keys generally produce a positive or happy effect and minor keys a sad one. Tempo is also another factor to be considered. However, depending on whether the move to the new key is harmonically prepared or unprepared, the modulations may be smooth or abrupt. Besides modulations to major and minor keys, it is feasible to modulate between various modes and keys and to create some interesting modal-tonal combinations.
There are various
techniques of modulation. Each one employs a slightly different composition
technique, which in turn generates a distinct sound. Be that as it may, all
forms of modulation are for the same purpose which is to change the key of
music.
Some are more complex
than others, and each can be heard in certain genres more than others. We will
explore a few different types of modulation to give you an idea. In this lesson,
however, we are going to take a look at modulation in its most three basic forms.
While modulation is not really necessary in three- or four-minute pop songs, it
surely helps to add new life and maintain the listener’s curiosity. In longer piece
or works like symphonies, modulation is of the essence. Even the greatest
composers would have a difficult time keeping things fresh and interesting
without modulating to new keys.
In this article, we will
confine the discussion to actual key changes and explore five techniques for
modulating:
1 Direct modulation,
2 Pivot-chord modulation,
and
3 Parallel modulation
No matter which technique
you use for a modulation, you will still need to ask these three questions:
(1) What is the desired
effect?
(2) What is the
destination key? And
(3) Which technique will
get you there?
In employing modulation,
it need to be a carefully sculptured musical approach that comprise a series of
harmonic and melodic choices that conform to the style and context of the music
at hand.
1
.Direct modulation:
This (also referred to as
phrase, shift, static, or abrupt modulation) is by far the simplest, easiest,
and most dramatic type of modulation to construct. Theoretically speaking,
direct modulation is a modulation technique that involves the transition
between two keys without any harmonic or melodic preparation. It is pretty an
amateur approach or technique that sound quite corny.
This type of modulation
is widely used in pop and country music (is often called a "truck driver's
modulation" in pop music because it's like the song has kicked into
another gear) and has two main applications: These are suddenly shifting to a
new key between sections of a song and repeating a section of a song in a
higher key. The simple analogy of direct modulation is jumping form “square
space A” to “square space B” with both legs at the same time.
Listen to Barry Manilow in I can’t smile
without you. Though he uses the truck driver modulation often for the last
chorus of his songs. John
Mayer used this technique in City love and Steve Wonder in You Are the Sunshine of My
Life.
Direct modulation is a
great standard modulation technique because it is simple and effective. It is
in no arguments works well for short progressions, lengthy passages, or entire
sections of music. You can play a progression once or several times before
modulating. Your choices are basically endless, so experiment with them. However,
you need to trust your ear. If it sounds good, then it works.
2. Pivot chord
Modulation:
This is also refers to as
common chord modulation and is a great method of moving from one key to
another, without drawing much attention. Unlike direct modulation, pivot chord
modulation can often go unnoticed by the untrained ear. This gives the composer
chance to make drastic changes through subtle nuance. If you really need a good
way to launch the song into a new key area, you need to try using a “pivot chord.”
Pivot chord modulation
technique is a diatomic modulation in the sense that it is normally used to
travel or move to the key that are closely related (as in circle of fifth). In
pivot chord modulation technique, while moving along in one key, you will reach
a pivot chord (or modulating chord), and then suddenly you will be in another
key. Basically, the pivot chord is one that is made only out of notes in the
key's scale (diatonic) in both keys.
This is the real cool
type of modulation that classical composer used. It involves finding two common
chords in two different keys and using those chords to modulate through. The
simple analogy to this is moving from one room to another through a common door
to both. For example, here's a basic
pivot chord modulation from key C major to G major. In this example, a choral
by Bach, the key C major triad is the common chord in modulating from key C
major to key G major:
The “I and IV” are the same
chord (a C chord), and it belongs to both keys. It is the pivot chord of this
modulation. You could continue in G major (by changing the key signature at 3
bar to G major) for the rest of the song; there's no requirement to modulate
back to C unless you want to.
A pivot chord modulation
will only be achievable if the two keys are closely enough related on the circle of fifths (or by relative or
parallel minor) to share a common triad. There are some guidelines for which
modulations sound best. Take a look at the circle
of fifths with each major key's relative minor on the inside.
Note that the Common chords are merely the chords that
two keys have in common while the Pivot
chords are the chords that we’ve actually chosen to use in our modulation.
A subject on modulation
that was based on common chords (pivot
chords) is a favorable starting point in the discerning of the process of modulation.
However, in practice, composers use a variety of techniques for modulation and
a better discerning can be made of this subject by studying the chord
progressions used.
3.
Parallel modulation:
This is when you change
mode without changing the root. In a parallel modulation, the music moves from
major to minor or minor to major without changing the tonic. For example, the
modulation from key of C-Major to C-Minor, or Key of F-Minor to F-Major, etc.
The idea of a key being
"parallel" comes from the fact that we are changing the tonic (1 or
I) chord from major-minor or minor-major on the same root. This simply mean
that if we started in key of C-Major, its parallel key would be key of C-Minor.
We could accordingly call Cm the "parallel
minor" of the Cmaj and also called the Cmaj the "parallel major" of the Cm.
These transitions are
smooth because the tonic has not changed, but the shift from the bright tonal
quality of the major key to the darker minor key and vice versa can be very
dramatic. Thus, the main function of this modulation is to change the overall
mood of the music with a simple chord change from minor to major or major to
minor because major keys generally being upbeat and "light" while
minor keys generally being ominous and "dark". It is naturally very
smooth for the reason that the tonic is unchanged, but is also brilliantly
colourful because the character of the music transforms quite dramatically.
This can be done straight
or facilitated by the different modulation techniques described above.
Depending on the segment of the modulation and whether or not it restores to
the original key, it may or may not be designated by a change of key signature.
Here is a parallel
modulation from C major to C minor. Even though this modulation uses a common
chord in both keys (G major chord), it is called a parallel modulation because
the two keys share the same tonic.
Mozart was very
affectionate about parallel modulations, one example can be heard in his famous
Rondo alla Turca. From the point of view, the A section of the rondo is in A-Minor and the B section is in A-Major. Listen and notice how bright and
triumphant the B section feels by suddenly lifting the mood from minor to
major!
Changing key is a great
way to inject a bit of energy into music. But you need to do it well or it can
just sound confusing.
*****
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