Theory Question

[alex]

Lets see what people think about Modulations then?

[queenofshred]

I don't have a clue what you mean. Can you give an example, like one in a real piece that we all know?

[alex]

Mozart's Sonata In A K331

[queenofshred]

I'll have to go find that...where abouts in it is this random modulation?

[alex]

Not exactly sure..

But, i will rephrase the question (its in the 2nd movement i think, 2nd subject part)..

anyway rephrasing..

Say i am in G minor, and i want to go to B major, what type of could would you use to connect these two keys.

basically, which one of those chord's function is to do that.

[queenofshred]

first, you'll need to explain these chords to me coz I prbably know what you mean, just not the names for them. (I know what a diminished 7th is <><><><> don't worry about that one!)

[alex]

Auxiliary chord *

A note combination created by one or more auxiliary notes (see below) where the character or duration of the result has the appearance of being a chord in its own right. One of the three main types of non-functional chord. Also, by analogy with the auxiliary note, any chord which returns to its preceding chord. Commonly used to prolong the tonic by creating tonic based static harmony or to prolong the dominant to create a dominant prolongation. See Chapter 2 (part 1) and Chapter 3 (part 2)


Augmented 6th chord

The augmented 6th chord occurs only chromatically. It is a discord which contains the interval of an augmented 6th in combination with other notes. There are 3 forms of the chord, normally described as follows:



Diminished 7th chord

The diminished 7th chord is a chromatic chord made up of 3 minor thirds piled on top of each other. In equal temperament, if a further minor third is added, the pitch arrives at an octave above the original note. Because of this, diminish 7th chords can only be formed on three different notes, without duplication (enharmonically, at least). Diminish 7th chords formed on the three notes: C, C#, D are consequently the only possibilities. The diminished 7th chord occurs on the 7th degree of the harmonic minor scale as in the following example in C minor:




Half Diminished Seventh *

This is the diminished seventh, but a major third between the 5th and seventh and not a minor third.

Secondary Dominants *

Dominant of a dominant.. i.e Seeing D major in piece in the key of C, as V is G, V of V is D major, hence why we have the progression II-V-I, cos its V of V (but altered to fit in diatonically), V, I. (this might seem like the obvious one to be the answer but it isnt)..

****

This totally wasnt how i expected this to be, so, err, tell me what you think it is and why and i wont do this again, lol..

[Arsonsquad]

This one is way over my head. I was going to ask though, how do you decide in the first place what key a song should jump to. I don't know if maybe my ear is not that good, or what, but I don't get it. I suppose f I played with it in my own writing I would be able to hear it better, but I never have. At least not on purpose.

[alex]

you dont really.. well unless you have the most immense perfect pitch in the world...

leading into a key, you go for the dominant of the key you want to go into, and then resolve to I, and its modulated..

The answer to this question is the Augmented 6th chords..

they are chromatic chords that ideally resolve to a dominant of a key..

so without being in say, flat keys and going A major (V), D major (I)..

add a chromatic sound that needs to be resolved, resolve it to the dominant, and then to the tonic and its (meant to) smooth the way into a new key without one of those (stops walking, turns around "what just happened" kinda thoughts).

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