Applied Chords and Diatonic Modulation Flashcards
tonicization
emphasizing a key centre other than the tonic for a short period of time - just a chord or two!
most effective way to make something sound like tonic
supply the temporary tonic with its own dominant or leading-tone chord
eg) we are in C and we want to tonicize G briefly so we would precede the G chord with a chord containing its leading tone (F#) either a V or a vii
things not to do
tonicize diminished or augmented chords break normal rules of part-writing (temporary leading-tones should resolve up to temporary tonics if they are in outer voices, chord sevenths should be prepared and resolved etc...) do not double tendancy tones no diminished triads in root position no voice crossing
How do applied chord resolve
usually to the chord which they are tonicizing
eg) V/V resolves to V or V/III resolves to III
sometimes they can resolve deceptively such as a V/V resolving to VI/V aka iii
where do applied chords appear?
they often occur in a metrically weaker position than the chord to which they resolve
what is a closely related key?
no more than one accidental away in either direction from the key signature of the original key
each key has 5 closely related keys
eg) C major: G Major, e minor, F Major, and
d minor
Steps for modulation
1) establish the initial key
2) arrive at a chord common to both your original key and your key of destination
3) pivot on that common chord to the new key
4) establish the new key - frequently by the appearance of a dominant-fuction chord in the new key - and confirm the new key by a cadence in that key
Pivot chord
sometimes there is some choir as to which chord is the pivot chord
usually predominant function in the new key and moves to the dominant
most common modulation
minor –> relative major
major tonic –> its dominant
