wqperotic.blogg.se

3 The absence of an explicit distinction between the different meanings of diatonic modulation probably owes to the large correlation between cases that obey both meanings or neither of them. This fundamental distinction is, surprisingly, missing from all major harmony textbooks. A different meaning is that there is at least one pivot chord, all the tones of which are diatonic members in both the source key and the target key.Įxample 1. 2 One meaning is that the tonic of the target key is a diatonic triad in the source key (that is, in the major-minor system, the source key and target key are closely related). This term thus certainly serves as a shorthand expression, but there are two distinct meanings according to which a modulation (or a brief tonicization) can count as diatonic. The term “diatonic modulation” is inexact, since diatonic music remains in one key, 1 while, by definition, a modulation moves from one key to another. Nevertheless, a renewed scrutiny discovers that the exact sense of how modulations are diatonic is complex and underexplored. The subject of diatonic modulation is seemingly terra cognita, material of first-year undergraduate courses that can stimulate only pedagogical issues. Keywords and phrases: Harmony, modulation, phrase structure, tonal music, key relations. The study also suggests pedagogical adaptation of the distinctions made, since they are missing in harmony textbooks. A corollary aspect of normative diatonic modulations is a stable phrase rhythm, but this can also be separated from diatonic modulations.

Modulations can also reach some distant goals by means of pivot chords that are diatonic in both source and target keys. Modulations can reach a diatonic goal by several means: pivot chords that are chromatic in either the source key, the target key, or both by means of enharmonic pivot chords or without any pivot chords. Modulations may fulfill one condition but not the other. The common term “diatonic modulation” involves two distinct meanings: modulations into keys whose tonics are diatonic triads in the source keys (this study also distinguishes them from closely related keys) and modulations via a pivot chord that is diatonic in both source and target keys.