The Madcap

I'm studying for my Theory III final. Sorry, I don't post here much, if this thread is somehow against rules, I'll delete it.

I need to study Modulation via:

1) Diatonic Common Chord (Already got this down)
2) Borrowed Chord (This too I think)
3) Enharmonic Reinterpreted
4) Modulation by a Common Tone

Number 1 it just modulating using a chord diatonic in both keys.

Number 2 I think is using a chord that's diatonic in another key, like if you're in C, you use A7 to modulate to Dm.

Number 3 I'm really unsure about.

Number 4 I'm guessing is when you find chromatic medians to find a chord in common with another key, and use the common tone to modulate.

Any help?

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Xiaoxi

Judging by the name, Enharmonic Reinterpreted is kind of like #1, but shifting the enharmonics to suit a very distant key.

If you were in the key of B major, on a B/3rd (D#, F#, B), it can be reinterpreted as a Cb/3rd (Eb, Gb, Cb) possibly as the neapolitan of Bb major/minor.


No. 4, no need for chromatic mediants. Whatever chords share a tone will suffice.

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Analyzing Brahms: Insights to Help Us Improve Our Music

Nelsean attempting to pronounce my name lol

I got Last.fm. Don't know why...

The Madcap

Ah, I see. It seems like the the enharmonic reinterpretation modulation would be much more uncommon.

Thanks, bro. Would have IM'ed you about it but no more meebo.

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Xiaoxi

Used all da time by Schubert, Brahms, Wagner, and onward

In fact, happens right around here:

youtu.be/I-O8XY17Ej4?t=2m35s


Common tone modulation:

youtu.be/CR3h78Il5E4?t=6m4s

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Modes and scales are dumb and useless. Stop learning them. No, seriously.

Analyzing Brahms: Insights to Help Us Improve Our Music

Nelsean attempting to pronounce my name lol

I got Last.fm. Don't know why...

The Madcap

The ones my teacher writes aren't as convincing as those.

One last thing, on this sheet of notes that I have, I have "rounded simple ternary" on there. I know simple ternary, but the rounded is throwing me off. Any help there?Fuck that gay shit.

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Xiaoxi

LOL of course not. I mean, it's fuckin' Brahms.


Not quite sure on this one, and these kinds of formal designations are stupid and useless. But I'm gonna guess that it's an ABA form where the last A is abridged.

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Modes and scales are dumb and useless. Stop learning them. No, seriously.

Analyzing Brahms: Insights to Help Us Improve Our Music

Nelsean attempting to pronounce my name lol

I got Last.fm. Don't know why...

The Madcap

Sounds good enough for me. Appreciate the help.

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Voted UG's best threadstarter 2009, 2010, 2011 & 2012 (I know, at this point it's sad).
Voted UG's best Male dresser 2011.

Xiaoxi

that'll be tree fiddy

__________________
Modes and scales are dumb and useless. Stop learning them. No, seriously.

Analyzing Brahms: Insights to Help Us Improve Our Music

Nelsean attempting to pronounce my name lol

I got Last.fm. Don't know why...

Jet Penguin

I'm pretty sure rounded is when the opening thematic material returns at some point.

Pretty sure, but not definitely sure, that was one of those things I learned a while back and never used, so its pretty much gone now.

Xiaoxi hit everything else on the head, no need for anymore input on my part.

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"There are two styles of music. Good music and bad music." -Duke Ellington

ibanezguitars44

I think number 3 is used with French/German/Italian 6 chords. And any other nationality hahaha

They can be respelled as a V7 chord in another key

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Hellharicot

I think enharmonic reinterpretation is basically 'reinterpreting' the notes of a chord, without changing the sound of it, but considering it as the tonic note of the next tonality. Basically, if you're playing a song in C# major, you could write the G# chord (G#-B#-D#) using enharmony (Ab-C-Eb) and use this same chord as the tonic of the new tonality. Hence you modulate from C# major (7#) to Ab major. (4b)

I've just done a couple of research about common-tone modulation and I found this simple, clear explanation: « Typically, a common-tone modulation does not use a pivot chord. Its mechanism is — on the surface — very simple: the listener first hears a chord in an established key; then, one note of that chord is sustained (or simply repeated), while all the other notes in that chord change to a chord in another key. The sustained (or repeated) note, however, also belongs to that new chord — quite often with the aid of an enharmonic change (ie, its name is changed — eg, Ab becomes G#). »