Posted
I got a another idea for working with modulations within the circle of fifth diagram
On the bottom is a visual representation( visual feedback) of the 2 keys involved of the modulation
It works on this way:
Dragging to a second scale in the circle of fifth diagram gives a visual feedback and the shared chord ( pivot chords) are shown
as a visual feedback ( diagram) under the circle of fifth diagram
As we make a condition that there must be at least one shared chord(pivot chord) between the 2 scales possible?
or mustthere be a zone of pivot chords?
On forehand you can calculate what are the possible dragcombinations are in the circle of fifth diagram for th ediatonic modulation
example
C major to Emaj ( 4#) ..so Cmaj and Emaj do have 3 notes in common ..but what chordtype is this ?
( in the current circle of fifth diagram is this logic already inbuilt : click original key+ (Ctrl+ Click)target key ..gives shared chords
On this way some modulation combinations of 2 scales are not possible with shared chords and HN2 must come up with a error message
It is better to let the palette screen as it now is.. untouched and not add a visual feedback under the bottom, but use the circle of fitfh diagram screen therefore
It seems to be rather complex
how about more than diatonic modulation?
-chromatic modulation
-enharmonic modulation
My studybook:
diatonic modulation:
For diatonic modulation, you first need to work out wich chords are common to both keys. This will enable you to develop a pivot zone occupied exclusively by those chords. This zone would then culminate in a dominant to tonic progression into the new key
Note
To find shared chords between 2 scales is programmed into HN2,but for instance modulations from a minor key to the relative major key gives 7 shared chords and in this cases it seems that the V-1 progression onto the new tonic chord of the target key is the most effected modulation
Well to see this process visual makes it much easier to understand
For chromatic modulation, it is worthwile to spend some time exploring different ways of imparting dominant tensions to those particulair chromatic notes used to enter into th enew key. Each chromatic note can be effectively harmonized with numerous chords of dominant function. Examples are the leading note triads and seventhss, the dominant seventh chord. Try them all out and see how they sound
Note:
This i do not understand yet
For enharmonic modulation , it is valuable to examine each chord that uses a tritone, or even other such intervals, and look at the different ways in wich these intervals can be enharmonically respelled. Having discoverd these, then look at the implication of those respelled intervals for resolution onto chords belonging to the target key.
Note i do not understand this yet
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It seems that there are 3 aera's of modulation principles and how to get them working in HN2
Diatonic modulation seems to be the only what is supported by HN2 by searching and finding a zone of pivot chords, but there is no visual support
With the deep possibilities of all sort of chord progressions in HN2 i got a expectation that the modulations are also advanced too
possible
Fr., 16.12.2011 - 21:16 Permalink
Thanks for sharing your thoughts. Modulation actually is not rocket science. It's nice to have visual indicators to learn a few basics about modulation, but at the end of the day, every composer can do whatever he/she wants. In the 21th century, there are no strict rules to follow anymore.
This is the way I am doing modulations currently:
- Compose part A of a piece in key 1
- Compose part B in key 2
- Glue them together, Transpose part B only if necessary
- Done
More often then not, a modulation is just a "jump" to the other key. If both parts have sufficent other properties in common (rhythm, melodic rhythm, motifs), the listener will experience that jump as a proper transition.
Fr., 16.12.2011 - 23:07 Permalink
Yes , it seems not that difficult ..modulation as you explain it.
I found this in a studybook too..and if you understand this than you are the man! (generally spoken)
Automating this with software seems not te be necessary
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Modulation
Because of the strength of resolution to the tonic triad, the dominant seventh chord has always
represented the main agent for a change of key in a song—called modulation. It is important to
remember that when you are trying to change key, the target chord is the dominant seventh of
the new key, rather than the tonic. This is because the ear will only accept that a modulation has
occurred when it registers a perfect cadence in the new key. Without such a cadence, the ear will
register only a transitory shift toward that key.
This is why the minor mode is so vulnerable to alteration. It does not possess the requisite chord
for a perfect cadence. So it needs to be chromatically altered in order to have one. This also
highlights one of the major problems encountered in modal harmony: To achieve success in
modal harmony, you must avoid at all costs any semblance of a perfect cadence because
when it does occur, the ear will automatically focus upon the implied tonic toward which the
cadence occurs. And the Ionian mode is the only mode in which this is desirable.
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Thanks!