1. Key Relationships AP MUSIC THEORY 2014

2. Mode Mixture • Combining keys from MAJOR and PARALLEL MINOR • OR • Mixing the PARALELL MAJOR and MINOR MODES use flat3, flat6, flat 7

3. Mixture Chords in Minor • Borrow or MIX chords from parallel minor when in minor tonality • Reflects RAISED 7th SCALE DEGREE of harmonic form • Dominant chord: minor v to major V – Leading Tone chord: VII to viidim • Common practice: Picardy third (altering the 3rd of the chord)

4. MODULATION • WHEN? • Consistent reoccurance of same accidentals • IF RNA has atypical progressions in current key • THEN… • Shifting tonal centers • Defined: Process of moving from one tonal center to another, with or without changing the key signature

5. MODULATION • Temporary tonicization • Temporary sense of new tonic • Addition of 1 or 2 non-diatonic chords • DIFFERENCE? • Simply passing through (region OR area) • Modulation: convincing cadence AND significant time in a new key (larger area of work)

6. MODULATION • Stages • Establish the first key • The modulation device • Establishment of new tonal center • Closely related keys = common chords • Each key has 5 closely related keys (Differ by no more than 1 accidental) • Relative major or minor • The key with one more sharp or flat and its relative • The key with one less sharp or flat and its relative

7. MODULATION • Within a phrase is the “common chord” or “pivot modulation” • Pivot chord: diatonic to BOTH keys • Common Chord: ii or IV in NEW key • Where the tonality shifts JUST BEFORE accidental or altered chord • Direction modulation • No use of common chord • Chromatic modulation – direct modulation occurs WITHIN a phrase (chromatically altered note in SAME VOICE) • Phrase modulation – direct modulation BETWEEN phrases

8. EXAMPLES • P. 257-258