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