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| What are the two terms for the process of making scale degrees other than s.d. 1 sound temporarily like tonics? | Tonicization and Modulation= (Doesn't really matter though which one your use) |
| Tonicization | Implies a temporary "tonic" of brief duration |
| Modulation | Implies a longer-lasting and more significant change |
| Tonicizing (modulating to) V in major | (Tonicizations and modulations can be organized around any scale degree and around any major/minor triad) Because V is the chord most closely related to I, pieces in major move to V as a key area more readily than to any other scale degree |
| Tonicization/Modulation in minor pieces | Pieces in minor tend to move to III |
| What is the most frequent element of tonicization? Describe | Is the "applied dominant or leading-tone chord"= Its a chord that simulates the effect of a V or VII and "aplies" it to a harmony other than the tonic |
| Simple/generalized idea of applied chords | The general idea is that any major/minor triad can be preceded by ITS OWN V or VII |
| Tonicization/Modulation: Describe all chords applied to V | All chords applied to V contain s.d. #4 (this chromatic element is the tone that represents the dominant's leading tone) |
| What are the applied chords to V that we can use? | V, V^6, V^7, V^[6/5], ^[4/3], ^[4/2]= Note, all of these chords are in the key of the dominant of the original key |
| What transforms the chords into applied V's or VII's? | Raising s.d. 4 to #4 is what transforms the chords into applied V's or VII's= In analyzing a score, use a short curved arrow to represent the word "of" (as in V "of" V) |
| Applied Chords: Doubling | Because s.d. #4 functions (temporarily) as a leading tone, it must NOT be doubled |
| What are some of the most typical usages involving chords applied to V? | Are those that emphasize dominant harmony (often at a cadence) by means of a rising chromatic progression, {s.d. 4-#4-5}, in the bass |
| Frequently, what do chords applied to V do? | Harmonize s.d. #4 in a top-voice line rising from s.d. 3 to 5= This makes possible a particularly effective semicadence |
| Describe larger tonicizations and modulations | The principle of the applied dominant is still at work in even the most firmly established and abiding tonicizations of V= No temporary tonic can long function as such without the participation of its own dominant= Often, that dominant precedes the new tonic and helps to prepare it= At other times, the new tonic sets in without such preparation, and it is confirmed later by its dominant= Still, you need to do other things besides just V of V to create a key around the dominant |
| Describe a long lasting modulation | Will also include a melodic line that gravitates to the new goal as if it were s.d. 1, a change in motivic design, etc. |
| Pivot Chord | Is used to enable a smooth transition into a new key= It is a chord that occurs in both keys (the new one and the old one) |
| What are some of the most effective pivot chords? | Among the most effective pivot chords are those that would normally lead into the V chord of the NEW key: II and IV of the dominant (are the best in this category)= VI in the main key (becoming II in the key of the dominant) makes a particularly smooth transition= (There are other possibilities...) |
| How can you identify the pivot chord? | Remember that a likely candidate is the chord just before the first dominant in the new key |
| The 5-6 Technique | EX: In the key of C, you have the harmonic framework of I-II-V^7-I= If you start with I, the 5-6 effect is this: The tonic I (in root position) is expanded by having the 5th of that chord (e.g. G) move up to the 6th of that key (e.g. A): Taken by itself, it sounds as if the progression is from a I to a vi^6= However, by then moving to the II (which now has 1 common tone with the I^[5-6] preceding it, the "vi^6" actually just sounds like an inversion of I= RESULT: The 5-6 Technique allows the tonic, itself normally a goal, to become an ACTIVe element (i.e. it doesn't sound weird when the music moves to II) |
| The 5-6 Technique | EX: In the key of C, the C major and A minor chords (IV and II of G) constitute a 5-6 motion with a skip down in the root of the second chord= Again, the pivot chord is I of C becoming IV of G= The A minor chord, however, also belongs to both keys, so one might read a group of two pivot chords rather than a single pivot |
| pg. 214 | (look at pg. 213)...help!!!!! |
| pg. 214 | (look at pg. 213)...help!!!!!!!! |
| pg. 214 | (look at pg. 213)...help!!!!!!! |
| How do most modulations and many of the more extensive tonicizations confirm the new tonic? | Confirm the new tonic by means of an authentic cadence, and often a melodic line that leads to s.d. 1 of the new key= The pivot chord(s) can move immediately to the cadential dominant, while at other times, the pivot chord will form part of a noncadential progression, and the cadence will occur later |
| Returning to the Tonic (of the original key) from the key of the Dominant | A return to the tonic requires no special preparation |
| Returning to the Tonic if V has NOT been tonicized for long | Because the listener still feels the strong pull of the main tonic, the composer can simply introduce the I chord in a place of some prominence and continue to the tonic= The last chord in the dominant area will have a double meaning: "I of V and V of I" |
| Returning to the Tonic if V has been tonicized for long | May be necessary to make it clear to the listener that the tonicized V is reverting to its permanent and basic function (that of dominant in the main key)= This is best accomplished by turning the chord into a DOMINANT SEVENTH by adding a minor 7th (s.d. 4 in the main key)= As a seventh chord, V no longer sounds like tonic= Also, V^7 has such a strong drive toward I that the listener is prepared for the return of the tonic= Also, s.d. 4 is the one scale degree in the tonic key that does not appear in the key of the dominant; therefore, the appearance of this tone helps to neutralize the temporary key at the same time as it prepares the return of the main one |
| pg. 217 | help |
| pg. 218 | help!! |
| HELP | extra space to write...if needed |
| Phrase Modulation | Is a change of key where the new tonic appears at the beginning of a phrase without being prepared by a pivot chord |
| Modulating Melodies | Melodies sometimes signal a modulation with accidentals= Such melodies are not always easy to harmonize well, but recognizing that a modulation is taking place is easy |
| Realizing modulating figured and unfigured bases | Is usually easier than harmonizing melodies= The figured basses normally indicate all the necessary chromatic adjustments, and even in unfigured basses, modulations are easy to recognize because of the unmistakable V-I progressions, especially at cadences |
