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