#1
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?
#2
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.

...modes and scales are still useless.


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#3
Quote by 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.
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.
#4
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

...modes and scales are still useless.


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Last edited by Xiaoxi at Dec 11, 2012,
#5
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?
Quote by Xiaoxi
Schubert
Fuck that gay shit.
#6
Quote by The Madcap
The ones my teacher writes aren't as convincing as those.
LOL of course not. I mean, it's fuckin' Brahms.

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?

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.

...modes and scales are still useless.


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#8
that'll be tree fiddy

...modes and scales are still useless.


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#9
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.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#10
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
Originally posted by primusfan
When you crank up the gain to 10 and switch to the lead channel, it actually sounds like you are unjustifiably bombing an innocent foreign land.


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#11
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#). »
#12
Just took the final. My teacher literally hands out the final, assigns a student to watch over the class, and leaves for the whole final. So as soon as he leaves, people start asking each other for help. I got some and think I did alright.

For the enharmonic reinterpretation, we had to modulate from C major to Ab major using a diminished chord, so I chose vii°7/ii and used it as vii°7 to I in a major (which...shit, now I'm realizing I should have wrote in 2nd inversion).

There was also another one I had to do like with what ibanezguitar44 said. I used a Bb dominant 7 and enharmonically reinterpreted it as a german to some key I can't remember.

Hope I did well.