{"id":777,"date":"2023-05-24T16:04:16","date_gmt":"2023-05-24T16:04:16","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modulation-to-closely-related-keys\/"},"modified":"2026-02-03T20:30:03","modified_gmt":"2026-02-03T20:30:03","slug":"modulation-to-closely-related-keys","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modulation-to-closely-related-keys\/","title":{"raw":"Modulation to closely related keys","rendered":"Modulation to closely related keys"},"content":{"raw":"<div class=\"modulation-to-closely-related-keys\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 33<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Key relations ([pb_glossary id=\"1090\"]relative[\/pb_glossary], [pb_glossary id=\"3687\"]closely related[\/pb_glossary], [pb_glossary id=\"3688\"]distantly related[\/pb_glossary], [pb_glossary id=\"1030\"]parallel[\/pb_glossary], and [pb_glossary id=\"673\"]enharmonic[\/pb_glossary])<\/li>\r\n \t<li>How modulations to closely related keys work in context<\/li>\r\n \t<li>How to identify and label a [pb_glossary id=\"3690\"]pivot chord[\/pb_glossary]<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modulation to closely related keys\"><\/a>Modulation to closely related keys<\/h1>\r\n<p class=\"import-Normal\">Often composers will change keys within a piece in order to create interest, avoid monotony, and develop tonal tension. The most common way composers do this is through [pb_glossary id=\"3690\"]pivot chords[\/pb_glossary], which are usually [pb_glossary id=\"345\"]diatonic[\/pb_glossary] and function tonally in both the original key and the new key. A pivot chord thus possesses a double identity and assumes a new tonal function to modulate into the new key. Example 33\u20111 demonstrates the use of a pivot chord in a modulation. After the point of the pivot, all chords are labeled in relationship to the new key.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 33\u20111. Pivot chord modulation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image57-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image57-1.png\" alt=\"image of chord progression written in four parts on Grand staff in the key of C major: one, six, four, five, one, six, pivot chord symbol used, new key is G major: two, one-six-four, five, one, six, four, five, one\" width=\"1320\" height=\"545\" class=\"alignnone\" \/><\/a><small><\/small>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Pivot chord modulations work best when the keys are <span style=\"font-size: 18.6667px\">[pb_glossary id=\"3687\"]closely related[\/pb_glossary]<\/span><\/span><span style=\"font-size: 14pt\">, which means that the keys either possess the same key signature or have only one flat or sharp different from each other. In Example 33-1 above, <\/span><span style=\"font-size: 14pt\">C major and G major are <\/span><span style=\"font-size: 18.6667px\">closely related keys<\/span><span style=\"font-size: 14pt\"> because their key signatures differ by only one accidental.<\/span><\/p>\r\n<p class=\"import-Normal\"><span>Another way to know which keys are closely related to a given tonic key is to identify all the major and minor diatonic chords in that key that can be tonicized with a [pb_glossary id=\"3445\"]secondary dominant[\/pb_glossary]. A method for finding these five closely related keys is shown below in Figure 33-1 (for major keys) and Figure 33-2 (for minor keys).<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 33\u20111. Finding closely related keys from a major base key, using a visual model<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image58-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image58-1.png\" alt=\"image\" width=\"1242\" height=\"1715\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-33.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 33.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Using this method, we find that F major, G major, D minor, A minor, and E minor are closely related to C major. Notice that A minor shares the key signature of C major (no sharps or flats), and F major and D minor (1 flat) and G major and E minor (1 sharp) are only one accidental different from C major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 33\u20112. Finding closely related keys from a minor base key, using a visual model<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image59-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image59-1.png\" alt=\"image\" width=\"1239\" height=\"1784\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-33.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 33.2<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">This method tells us that F minor, G minor, A[latex]\\flat[\/latex] major, E[latex]\\flat[\/latex] major, and B[latex]\\flat[\/latex] major are closely related to C minor. E[latex]\\flat[\/latex] major shares the key signature of C minor (3 flats), and F minor and A[latex]\\flat[\/latex] major (4 flats) and G minor and B[latex]\\flat[\/latex] major (2 flats) are only one accidental different from C minor.<\/p>\r\n\r\n<h1><a id=\"Pivot-chord modulation in a musical context\"><\/a>Pivot-chord modulation in a musical context<\/h1>\r\n<p class=\"import-Normal\">Example 33\u20112 shows a swift pivot-chord modulation from E minor to its relative major, G major. This key relationship is not only a closely related key, but also the [pb_glossary id=\"1090\"]relative[\/pb_glossary] relationship, meaning the two key areas share the same key signature. The pivot chord occurs in m. 6, which in E minor is the subdominant (iv6) chord and in G major is the supertonic (ii6) chord.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 33\u20112. Franz Joseph Haydn, Sonata in E minor for piano, Hob. XVI:34, mvt. 3, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-1024x463.png\" alt=\"image of score\" width=\"1024\" height=\"463\" class=\"alignnone wp-image-3704 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Markus Becker, on <a href=\"https:\/\/open.spotify.com\/track\/6VXw9I7DG691lVEZADbPei?si=ba697a9cde354860\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId116\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T60 Modulation to closely related key areas (10:25)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/5-QGxIaf7Qs?si=PCq7ua_DunCgZA9u\r\n<p class=\"import-Normal\">This video introduces the concept of modulation to closely related keys. In this video, we learn what pivot chords and closely related keys are, then explore pivot-chord modulation in a piano sonata by Haydn (Example 33-2).<\/p>\r\nAccess the slideshow here: <a class=\"rId123\" target=\"_blank\" href=\"https:\/\/docs.google.com\/presentation\/d\/1SGydzJopcOsX9mIe0xllQ34GHASRFVoX3_jbhYua-Fc\/edit?usp=sharing\" rel=\"noopener\"><span class=\"import-Hyperlink\">Modulation to closely related keys slides<\/span><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 33-1 Finding closely related keys\"><\/a>EXERCISE 33-1 Finding closely related keys<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 33-1 Finding closely related keys<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Given the tonic keys in each problem below, complete the rest of each chart to show all of the keys closely related to the given tonic.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image61-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image61-1.png\" alt=\"image of six problems where tonic is given and five spaces remain for labeling the remaining closely related keys. (1) tonic is F major, (2) tonic is F-sharp minor, (3) tonic is D-flat major, (4) tonic is B-flat major, (5) tonic is F minor, and (6) tonic is B minor.\" width=\"1181\" height=\"633\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex33.1-Finding-closely-related-keys.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.1 Finding closely related keys<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 33-2 Analysis with modulation\"><\/a>EXERCISE 33-2 Analysis with modulation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 33-2 Analysis with modulation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to each Worksheet example. Then complete the following tasks for each:<\/p>\r\n\r\n<ul>\r\n \t<li>Identify the starting and ending keys.<\/li>\r\n \t<li>Determine the [pb_glossary id=\"2246\"]harmonic rhythm[\/pb_glossary], and provide a Roman numeral analysis beneath the staff. Include a pivot chord to show where the modulations take place.<\/li>\r\n \t<li>Answer the question(s) regarding each excerpt.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Question for Worksheet example 33\u20111: What term best describes the relationship between the two keys in this excerpt? (Choices include [pb_glossary id=\"1090\"]relative[\/pb_glossary], [pb_glossary id=\"3687\"]closely related[\/pb_glossary] but not relative, [pb_glossary id=\"3688\"]distantly related[\/pb_glossary], [pb_glossary id=\"1030\"]parallel[\/pb_glossary], and [pb_glossary id=\"673\"]enharmonic[\/pb_glossary].)<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20111. Orchestral reduction of Joseph Bologne, Symphony in G major, op. 11, no. 1, mvt. 2, mm. 9\u201321[footnote]Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/modulation\/<\/a>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image62-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image62-1.png\" alt=\"image\" width=\"1430\" height=\"977\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Tafelmusik Baroque Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7oNlftJiMfFQaLH7vKu0Gs?si=94477a9b8a4948d3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Joseph <\/strong><strong>Bologne<\/strong> (1745\u20131799) by reading this <a class=\"rId117\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24316\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Gabriel Banat.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Note for Worksheet example 33\u20112: Don\u2019t get too caught up in chord inversion and position in this excerpt, as the cello part continually moves by step, thus changing chord inversion and infusing the texture with a lot of [pb_glossary id=\"3348\"]passing tones[\/pb_glossary]. It is more important to identify Roman numerals and pivot chord placement than to label chord inversion in this excerpt.<\/p>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20112:<\/p>\r\n\r\n<ul>\r\n \t<li>This section modulates twice. What term best describes the relationship between the two key areas that are used in this excerpt?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 3\u20134?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 7\u20138?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 11\u201312?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 15\u201316?<\/li>\r\n \t<li>What term(s) best describe the form of mm. 9\u201316?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20112. Franz Joseph Haydn, String Quartet in D major, op. 20, no. 4, mvt. 3, trio section<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-988x1024.png\" alt=\"image of score\" width=\"988\" height=\"1024\" class=\"alignnone size-large wp-image-3728\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-Haydn-op.-20-no.-4-mvt.-3-trio-section.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5cnRlG8qHWsCkD76kin4bX?si=9c8a46fba5ec4d7e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId116\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20113:<\/p>\r\n\r\n<ul>\r\n \t<li>What term best describes the relationship between the opening and ending keys?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 7\u20138?<\/li>\r\n \t<li>What kind of cadence occurs in mm. 11\u201312?<\/li>\r\n \t<li>What term(s) best describe the form of this excerpt?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20113. Robert Schumann, <em>Myrthen<\/em>, op. 25, \u201cHochl\u00e4nders Abschied,\u201d mm. 1\u201312<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-1005x1024.png\" alt=\"image of score\" width=\"1005\" height=\"1024\" class=\"alignnone wp-image-3732 size-large\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by lyric tenor Ian Partridge, on <a href=\"https:\/\/open.spotify.com\/track\/6IMvqvYn6beGWYSMotHifq?si=d7e6f803de694dc8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId118\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by John Daverio and Eric Sams.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20114:<\/p>\r\n\r\n<ul>\r\n \t<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\r\n \t<li>What kind of cadence occurs in m. 4?<\/li>\r\n \t<li>What kind of cadence occurs at the end of this excerpt?<\/li>\r\n \t<li>Based on this cadence structure, what is the best term(s) to describe the form of the excerpt?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20114. C\u00e9cile Chaminade, Gavotte from <em>Album des Enfants<\/em>, op. 123, mm. 1\u20138[footnote]Example from \u00a0<a href=\"https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/modulation\/<\/a>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65-1.png\" alt=\"image of score\" width=\"1420\" height=\"694\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.4.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Anna Caterina Binda, on <a href=\"https:\/\/open.spotify.com\/track\/7qVbRizYCLCeEFf9mFcfBn?si=9820958e73d84f2a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about French composer <strong>C\u00e9cile Chaminade<\/strong> (1857\u20131944) by reading this <a class=\"rId119\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.05388\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia J. Citron.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Note for Worksheet example 33\u20115: Assume a harmonic rhythm of one chord per bar.<\/p>\r\n<p class=\"import-Normal\">Question for Worksheet example 33\u20115: What term best describes the relationship between the two key areas of this example?<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20115. Antonio Vivaldi, Violin Concerto in E minor, RV 277 (\"Il Favorito\"), mvt. 2, mm. 8\u201315[footnote]Example from https:\/\/musictheoryexamples.com\/22MT.html by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66-1.png\" alt=\"image of score\" width=\"1387\" height=\"1644\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.5.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by violinist Giuliano Carmignola and Sonatori de la Gioiosa Marca, on <a href=\"https:\/\/open.spotify.com\/track\/7v9mbJZ8x1NKFIBYTHtY7k?si=ca73ca4ed96c4aa3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Antonio Vivaldi<\/strong> (1678\u20131741) by reading this <a class=\"rId120\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40120\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot and revised by Nicholas Lockey.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20116:<\/p>\r\n\r\n<ul>\r\n \t<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\r\n \t<li>Describe the root motion of the [pb_glossary id=\"2148\"]harmonic sequence[\/pb_glossary] that starts in m. 2.<\/li>\r\n \t<li>Describe the root motion of the harmonic sequence that starts in m. 3.<\/li>\r\n \t<li>Describe the root motion of the harmonic sequence that starts in m. 4.<\/li>\r\n \t<li>What kind of [pb_glossary id=\"2863\"]non-chord tone[\/pb_glossary] is used in m. 1?<\/li>\r\n \t<li>What kind of non-chord tone is used in mm. 4\u20135?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20116. J. S. Bach, Well Tempered Clavier Bk. 1, Prelude 6, mm. 1\u20136<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67-1.png\" alt=\"image of score\" width=\"1358\" height=\"909\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.6.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Enrica Cavallo, on <a href=\"https:\/\/open.spotify.com\/track\/5oMKbWWbIHpXOdNU0ZBuQy?si=8a7f290e718e4d56\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20117:<\/p>\r\n\r\n<ul>\r\n \t<li>What term best describes the relationship between the opening and ending keys?<\/li>\r\n \t<li>What kind of cadence occurs in m. 2?<\/li>\r\n \t<li>What kind of cadence occurs in m. 4?<\/li>\r\n \t<li>What kind of cadence occurs in m. 6?<\/li>\r\n \t<li>What kind of cadence occurs in m. 8?<\/li>\r\n \t<li>What term(s) best describe the form of mm. 1\u20134?<\/li>\r\n \t<li>What term(s) best describe the form of mm. 5\u20138?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20117. Ludwig van Beethoven, Piano Sonata no. 10, op. 14, no. 2, mvt. 2, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-1024x455.png\" alt=\"image of score\" width=\"1024\" height=\"455\" class=\"alignnone wp-image-3745 size-large\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Gerhard Oppitz, on <a href=\"https:\/\/open.spotify.com\/track\/2Mx8H9veCfm2w7wuZlr6gF?si=f1a1fae379af405f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId121\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Note for Worksheet example 33\u20118: For this excerpt, there is no need to label all implied chords beneath the staff. Instead, simply identify the opening and ending keys, and identify the best place for a pivot chord and provide a label showing the function in both keys.<\/p>\r\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20118:<\/p>\r\n\r\n<ul>\r\n \t<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\r\n \t<li>What kind of cadence occurs at the end of this excerpt?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 33\u20118. Elisabeth Jacquet de La Guerre, Suite in F major, Allemande, mm. 1\u20137[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/1\/13\/IMSLP790134-PMLP229182-Jacquet_Livre_I_Complet.pdf\" target=\"_blank\" rel=\"noopener\">\"Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Gouin,_Pierre\" target=\"_blank\" rel=\"noopener\">Pierre Gouin<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 4.0<\/a><a><\/a><\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-1024x314.png\" alt=\"image of score\" width=\"1024\" height=\"314\" class=\"alignnone wp-image-5821 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by harpsichordist Elizabeth Farr, on <a href=\"https:\/\/open.spotify.com\/track\/34ccYV4RWp09u3z7OeoRfp?si=6469fca56edc4efd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about French harpsichordist and composer <strong>Elisabeth <\/strong><strong>Jacquet<\/strong><strong> de La Guerre<\/strong> (1665\u20131729) by reading this <a class=\"rId122\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14084\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Catherine Cessac.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex33.2-Analysis-with-modulation.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.2 Analysis with modulation<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId124\" href=\"https:\/\/open.spotify.com\/playlist\/0OIQZM4CORXlcdTky9ySBg?si=5b280a9b01a24e58\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for modulation to closely related keys<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 33-3 Key relations\"><\/a>EXERCISE 33-3 Key relations<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 33-3 Key relations<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study each of the key relationships below and label it as one of the following:<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">C <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Closely related (but not relative)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">R <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Relative<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">P <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Parallel<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">D <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Distantly related or foreign (but not parallel)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">E <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Enharmonic<\/p>\r\n\r\n<ol>\r\n \t<li>F[latex]\\sharp[\/latex] major and F[latex]\\sharp[\/latex] minor<\/li>\r\n \t<li>F major and C minor<\/li>\r\n \t<li>G major and D major<\/li>\r\n \t<li>D[latex]\\flat[\/latex] major and C[latex]\\sharp[\/latex] major<\/li>\r\n \t<li>C[latex]\\sharp[\/latex] minor and E major<\/li>\r\n \t<li>D minor and C major<\/li>\r\n \t<li>E[latex]\\flat[\/latex] major and E[latex]\\flat[\/latex] minor<\/li>\r\n \t<li>B major and C[latex]\\flat[\/latex] major<\/li>\r\n \t<li>F minor and A major<\/li>\r\n \t<li>G[latex]\\flat[\/latex] major and D[latex]\\flat[\/latex] major<\/li>\r\n \t<li>B[latex]\\flat[\/latex] major and F major<\/li>\r\n \t<li>B minor and G major<\/li>\r\n \t<li>B[latex]\\flat[\/latex] minor and D[latex]\\flat[\/latex] major<\/li>\r\n \t<li>E[latex]\\flat[\/latex] major and F major<\/li>\r\n \t<li>E minor and E major<\/li>\r\n \t<li>G major and A[latex]\\flat[\/latex] major<\/li>\r\n \t<li>A minor and F major<\/li>\r\n \t<li>C minor and E[latex]\\flat[\/latex] major<\/li>\r\n \t<li>F[latex]\\sharp[\/latex] major and C[latex]\\sharp[\/latex] major<\/li>\r\n \t<li>A major and G major<\/li>\r\n<\/ol>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex33.3-Key-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.3 Key relations<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: S35 Sight singing a modulating melody (5:47)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/QiqyztHekUo?si=kvStxth1ArP-aFZ3\r\n<p class=\"import-Normal\">This interactive video walks you through the steps needed to sing a modulating melody from the Berkowitz et al. collection titled <em>A New Approach to Sight Singing<\/em>. We begin by analyzing the melodic structure and implied key areas, identify appropriate notes to pivot solfege syllables, practice reading the rhythm aloud by chanting the solfege syllables while conducting, and finally sing the melody.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-quiz on pivot chord thinking problems<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">[h5p id=\"71\"]<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 33<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/extended-tonicization-and-modulation-to-closely-related-keys\/\" target=\"_blank\" rel=\"noopener\">John Peterson's chapter on modulation to closely related keys<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"modulation-to-closely-related-keys\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 33<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Key relations (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_1090\">relative<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3687\">closely related<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3688\">distantly related<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_1030\">parallel<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_673\">enharmonic<\/a>)<\/li>\n<li>How modulations to closely related keys work in context<\/li>\n<li>How to identify and label a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3690\">pivot chord<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Modulation to closely related keys<\/h1>\n<p class=\"import-Normal\">Often composers will change keys within a piece in order to create interest, avoid monotony, and develop tonal tension. The most common way composers do this is through <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3690\">pivot chords<\/a>, which are usually <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_345\">diatonic<\/a> and function tonally in both the original key and the new key. A pivot chord thus possesses a double identity and assumes a new tonal function to modulate into the new key. Example 33\u20111 demonstrates the use of a pivot chord in a modulation. After the point of the pivot, all chords are labeled in relationship to the new key.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 33\u20111. Pivot chord modulation<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image57-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image57-1.png\" alt=\"image of chord progression written in four parts on Grand staff in the key of C major: one, six, four, five, one, six, pivot chord symbol used, new key is G major: two, one-six-four, five, one, six, four, five, one\" width=\"1320\" height=\"545\" class=\"alignnone\" \/><\/a><small><\/small><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-777-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Pivot chord modulations work best when the keys are <span style=\"font-size: 18.6667px\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3687\">closely related<\/a><\/span><\/span><span style=\"font-size: 14pt\">, which means that the keys either possess the same key signature or have only one flat or sharp different from each other. In Example 33-1 above, <\/span><span style=\"font-size: 14pt\">C major and G major are <\/span><span style=\"font-size: 18.6667px\">closely related keys<\/span><span style=\"font-size: 14pt\"> because their key signatures differ by only one accidental.<\/span><\/p>\n<p class=\"import-Normal\"><span>Another way to know which keys are closely related to a given tonic key is to identify all the major and minor diatonic chords in that key that can be tonicized with a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3445\">secondary dominant<\/a>. A method for finding these five closely related keys is shown below in Figure 33-1 (for major keys) and Figure 33-2 (for minor keys).<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 33\u20111. Finding closely related keys from a major base key, using a visual model<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image58-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image58-1.png\" alt=\"image\" width=\"1242\" height=\"1715\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-33.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 33.1<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Using this method, we find that F major, G major, D minor, A minor, and E minor are closely related to C major. Notice that A minor shares the key signature of C major (no sharps or flats), and F major and D minor (1 flat) and G major and E minor (1 sharp) are only one accidental different from C major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 33\u20112. Finding closely related keys from a minor base key, using a visual model<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image59-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image59-1.png\" alt=\"image\" width=\"1239\" height=\"1784\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-33.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 33.2<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">This method tells us that F minor, G minor, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major are closely related to C minor. E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major shares the key signature of C minor (3 flats), and F minor and A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (4 flats) and G minor and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (2 flats) are only one accidental different from C minor.<\/p>\n<h1><a><\/a>Pivot-chord modulation in a musical context<\/h1>\n<p class=\"import-Normal\">Example 33\u20112 shows a swift pivot-chord modulation from E minor to its relative major, G major. This key relationship is not only a closely related key, but also the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_1090\">relative<\/a> relationship, meaning the two key areas share the same key signature. The pivot chord occurs in m. 6, which in E minor is the subdominant (iv6) chord and in G major is the supertonic (ii6) chord.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 33\u20112. Franz Joseph Haydn, Sonata in E minor for piano, Hob. XVI:34, mvt. 3, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-1024x463.png\" alt=\"image of score\" width=\"1024\" height=\"463\" class=\"alignnone wp-image-3704 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-1024x463.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-300x136.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-768x347.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-1536x694.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-2048x926.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-65x29.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-225x102.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-33.2-350x158.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-33.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Markus Becker, on <a href=\"https:\/\/open.spotify.com\/track\/6VXw9I7DG691lVEZADbPei?si=ba697a9cde354860\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId116\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T60 Modulation to closely related key areas (10:25)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T60 Modulation to Closely Related Keys\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/5-QGxIaf7Qs?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of modulation to closely related keys. In this video, we learn what pivot chords and closely related keys are, then explore pivot-chord modulation in a piano sonata by Haydn (Example 33-2).<\/p>\n<p>Access the slideshow here: <a class=\"rId123\" target=\"_blank\" href=\"https:\/\/docs.google.com\/presentation\/d\/1SGydzJopcOsX9mIe0xllQ34GHASRFVoX3_jbhYua-Fc\/edit?usp=sharing\" rel=\"noopener\"><span class=\"import-Hyperlink\">Modulation to closely related keys slides<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 33-1 Finding closely related keys<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 33-1 Finding closely related keys<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Given the tonic keys in each problem below, complete the rest of each chart to show all of the keys closely related to the given tonic.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image61-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image61-1.png\" alt=\"image of six problems where tonic is given and five spaces remain for labeling the remaining closely related keys. (1) tonic is F major, (2) tonic is F-sharp minor, (3) tonic is D-flat major, (4) tonic is B-flat major, (5) tonic is F minor, and (6) tonic is B minor.\" width=\"1181\" height=\"633\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex33.1-Finding-closely-related-keys.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.1 Finding closely related keys<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 33-2 Analysis with modulation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 33-2 Analysis with modulation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to each Worksheet example. Then complete the following tasks for each:<\/p>\n<ul>\n<li>Identify the starting and ending keys.<\/li>\n<li>Determine the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_2246\">harmonic rhythm<\/a>, and provide a Roman numeral analysis beneath the staff. Include a pivot chord to show where the modulations take place.<\/li>\n<li>Answer the question(s) regarding each excerpt.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Question for Worksheet example 33\u20111: What term best describes the relationship between the two keys in this excerpt? (Choices include <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_1090\">relative<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3687\">closely related<\/a> but not relative, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3688\">distantly related<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_1030\">parallel<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_673\">enharmonic<\/a>.)<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20111. Orchestral reduction of Joseph Bologne, Symphony in G major, op. 11, no. 1, mvt. 2, mm. 9\u201321<a class=\"footnote\" title=\"Example from https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" id=\"return-footnote-777-1\" href=\"#footnote-777-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image62-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image62-1.png\" alt=\"image\" width=\"1430\" height=\"977\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.1.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Tafelmusik Baroque Orchestra, on <a href=\"https:\/\/open.spotify.com\/track\/7oNlftJiMfFQaLH7vKu0Gs?si=94477a9b8a4948d3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Joseph <\/strong><strong>Bologne<\/strong> (1745\u20131799) by reading this <a class=\"rId117\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24316\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Gabriel Banat.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Note for Worksheet example 33\u20112: Don\u2019t get too caught up in chord inversion and position in this excerpt, as the cello part continually moves by step, thus changing chord inversion and infusing the texture with a lot of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_3348\">passing tones<\/a>. It is more important to identify Roman numerals and pivot chord placement than to label chord inversion in this excerpt.<\/p>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20112:<\/p>\n<ul>\n<li>This section modulates twice. What term best describes the relationship between the two key areas that are used in this excerpt?<\/li>\n<li>What kind of cadence occurs in mm. 3\u20134?<\/li>\n<li>What kind of cadence occurs in mm. 7\u20138?<\/li>\n<li>What kind of cadence occurs in mm. 11\u201312?<\/li>\n<li>What kind of cadence occurs in mm. 15\u201316?<\/li>\n<li>What term(s) best describe the form of mm. 9\u201316?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20112. Franz Joseph Haydn, String Quartet in D major, op. 20, no. 4, mvt. 3, trio section<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-988x1024.png\" alt=\"image of score\" width=\"988\" height=\"1024\" class=\"alignnone size-large wp-image-3728\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-988x1024.png 988w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-290x300.png 290w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-768x796.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-1483x1536.png 1483w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-1977x2048.png 1977w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-65x67.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-225x233.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-rev-350x363.png 350w\" sizes=\"auto, (max-width: 988px) 100vw, 988px\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-Haydn-op.-20-no.-4-mvt.-3-trio-section.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-Haydn-op.-20-no.-4-mvt.-3-trio-section.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.2-Haydn-op.-20-no.-4-mvt.-3-trio-section.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5cnRlG8qHWsCkD76kin4bX?si=9c8a46fba5ec4d7e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId116\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20113:<\/p>\n<ul>\n<li>What term best describes the relationship between the opening and ending keys?<\/li>\n<li>What kind of cadence occurs in mm. 7\u20138?<\/li>\n<li>What kind of cadence occurs in mm. 11\u201312?<\/li>\n<li>What term(s) best describe the form of this excerpt?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20113. Robert Schumann, <em>Myrthen<\/em>, op. 25, \u201cHochl\u00e4nders Abschied,\u201d mm. 1\u201312<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-1005x1024.png\" alt=\"image of score\" width=\"1005\" height=\"1024\" class=\"alignnone wp-image-3732 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-1005x1024.png 1005w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-294x300.png 294w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-768x782.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-1508x1536.png 1508w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-65x66.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-225x229.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev-350x357.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3-rev.png 1978w\" sizes=\"auto, (max-width: 1005px) 100vw, 1005px\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by lyric tenor Ian Partridge, on <a href=\"https:\/\/open.spotify.com\/track\/6IMvqvYn6beGWYSMotHifq?si=d7e6f803de694dc8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId118\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20114:<\/p>\n<ul>\n<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\n<li>What kind of cadence occurs in m. 4?<\/li>\n<li>What kind of cadence occurs at the end of this excerpt?<\/li>\n<li>Based on this cadence structure, what is the best term(s) to describe the form of the excerpt?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20114. C\u00e9cile Chaminade, Gavotte from <em>Album des Enfants<\/em>, op. 123, mm. 1\u20138<a class=\"footnote\" title=\"Example from \u00a0https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" id=\"return-footnote-777-2\" href=\"#footnote-777-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image65-1.png\" alt=\"image of score\" width=\"1420\" height=\"694\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.4.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Anna Caterina Binda, on <a href=\"https:\/\/open.spotify.com\/track\/7qVbRizYCLCeEFf9mFcfBn?si=9820958e73d84f2a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about French composer <strong>C\u00e9cile Chaminade<\/strong> (1857\u20131944) by reading this <a class=\"rId119\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.05388\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia J. Citron.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Note for Worksheet example 33\u20115: Assume a harmonic rhythm of one chord per bar.<\/p>\n<p class=\"import-Normal\">Question for Worksheet example 33\u20115: What term best describes the relationship between the two key areas of this example?<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20115. Antonio Vivaldi, Violin Concerto in E minor, RV 277 (&#8220;Il Favorito&#8221;), mvt. 2, mm. 8\u201315<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/22MT.html by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-777-3\" href=\"#footnote-777-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image66-1.png\" alt=\"image of score\" width=\"1387\" height=\"1644\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.5.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.5.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by violinist Giuliano Carmignola and Sonatori de la Gioiosa Marca, on <a href=\"https:\/\/open.spotify.com\/track\/7v9mbJZ8x1NKFIBYTHtY7k?si=ca73ca4ed96c4aa3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Antonio Vivaldi<\/strong> (1678\u20131741) by reading this <a class=\"rId120\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40120\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Talbot and revised by Nicholas Lockey.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20116:<\/p>\n<ul>\n<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\n<li>Describe the root motion of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_2148\">harmonic sequence<\/a> that starts in m. 2.<\/li>\n<li>Describe the root motion of the harmonic sequence that starts in m. 3.<\/li>\n<li>Describe the root motion of the harmonic sequence that starts in m. 4.<\/li>\n<li>What kind of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_777_2863\">non-chord tone<\/a> is used in m. 1?<\/li>\n<li>What kind of non-chord tone is used in mm. 4\u20135?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20116. J. S. Bach, Well Tempered Clavier Bk. 1, Prelude 6, mm. 1\u20136<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image67-1.png\" alt=\"image of score\" width=\"1358\" height=\"909\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.6.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.6.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Enrica Cavallo, on <a href=\"https:\/\/open.spotify.com\/track\/5oMKbWWbIHpXOdNU0ZBuQy?si=8a7f290e718e4d56\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20117:<\/p>\n<ul>\n<li>What term best describes the relationship between the opening and ending keys?<\/li>\n<li>What kind of cadence occurs in m. 2?<\/li>\n<li>What kind of cadence occurs in m. 4?<\/li>\n<li>What kind of cadence occurs in m. 6?<\/li>\n<li>What kind of cadence occurs in m. 8?<\/li>\n<li>What term(s) best describe the form of mm. 1\u20134?<\/li>\n<li>What term(s) best describe the form of mm. 5\u20138?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20117. Ludwig van Beethoven, Piano Sonata no. 10, op. 14, no. 2, mvt. 2, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-1024x455.png\" alt=\"image of score\" width=\"1024\" height=\"455\" class=\"alignnone wp-image-3745 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-1024x455.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-300x133.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-768x342.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-1536x683.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-2048x911.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-65x29.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-225x100.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7-rev-350x156.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.7.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Gerhard Oppitz, on <a href=\"https:\/\/open.spotify.com\/track\/2Mx8H9veCfm2w7wuZlr6gF?si=f1a1fae379af405f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId121\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Note for Worksheet example 33\u20118: For this excerpt, there is no need to label all implied chords beneath the staff. Instead, simply identify the opening and ending keys, and identify the best place for a pivot chord and provide a label showing the function in both keys.<\/p>\n<p class=\"import-Normal\">Questions for Worksheet example 33\u20118:<\/p>\n<ul>\n<li>What term best describes the relationship between the opening and ending keys of this excerpt?<\/li>\n<li>What kind of cadence occurs at the end of this excerpt?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 33\u20118. Elisabeth Jacquet de La Guerre, Suite in F major, Allemande, mm. 1\u20137<a class=\"footnote\" title=\"&quot;Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)&quot; by Pierre Gouin is licensed under CC BY-NC 4.0\" id=\"return-footnote-777-4\" href=\"#footnote-777-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-1024x314.png\" alt=\"image of score\" width=\"1024\" height=\"314\" class=\"alignnone wp-image-5821 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-1024x314.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-300x92.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-768x235.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-1536x470.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-2048x627.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-65x20.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-225x69.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8-rev-350x107.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-777-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-33.8.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by harpsichordist Elizabeth Farr, on <a href=\"https:\/\/open.spotify.com\/track\/34ccYV4RWp09u3z7OeoRfp?si=6469fca56edc4efd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about French harpsichordist and composer <strong>Elisabeth <\/strong><strong>Jacquet<\/strong><strong> de La Guerre<\/strong> (1665\u20131729) by reading this <a class=\"rId122\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.14084\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Catherine Cessac.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex33.2-Analysis-with-modulation.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.2 Analysis with modulation<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId124\" href=\"https:\/\/open.spotify.com\/playlist\/0OIQZM4CORXlcdTky9ySBg?si=5b280a9b01a24e58\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for modulation to closely related keys<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 33-3 Key relations<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 33-3 Key relations<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study each of the key relationships below and label it as one of the following:<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">C <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Closely related (but not relative)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">R <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Relative<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">P <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Parallel<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">D <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Distantly related or foreign (but not parallel)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 90pt\">E <span style=\"margin-left: 26pt\"><\/span>= <span style=\"margin-left: 26pt\"><\/span>Enharmonic<\/p>\n<ol>\n<li>F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major and F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor<\/li>\n<li>F major and C minor<\/li>\n<li>G major and D major<\/li>\n<li>D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major<\/li>\n<li>C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor and E major<\/li>\n<li>D minor and C major<\/li>\n<li>E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor<\/li>\n<li>B major and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major<\/li>\n<li>F minor and A major<\/li>\n<li>G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major<\/li>\n<li>B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and F major<\/li>\n<li>B minor and G major<\/li>\n<li>B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor and D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major<\/li>\n<li>E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and F major<\/li>\n<li>E minor and E major<\/li>\n<li>G major and A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major<\/li>\n<li>A minor and F major<\/li>\n<li>C minor and E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major<\/li>\n<li>F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major<\/li>\n<li>A major and G major<\/li>\n<\/ol>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex33.3-Key-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex33.3 Key relations<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: S35 Sight singing a modulating melody (5:47)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"S35 Sight Singing Modulating Melody\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/QiqyztHekUo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video walks you through the steps needed to sing a modulating melody from the Berkowitz et al. collection titled <em>A New Approach to Sight Singing<\/em>. We begin by analyzing the melodic structure and implied key areas, identify appropriate notes to pivot solfege syllables, practice reading the rhythm aloud by chanting the solfege syllables while conducting, and finally sing the melody.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-quiz on pivot chord thinking problems<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">\n<div id=\"h5p-71\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-71\" class=\"h5p-iframe\" data-content-id=\"71\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"ch 33 pivot chords\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 33<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/extended-tonicization-and-modulation-to-closely-related-keys\/\" target=\"_blank\" rel=\"noopener\">John Peterson&#8217;s chapter on modulation to closely related keys<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-777-1\">Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/modulation\/<\/a> <a href=\"#return-footnote-777-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-777-2\">Example from \u00a0<a href=\"https:\/\/www.expandingthemusictheorycanon.com\/modulation\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/modulation\/<\/a> <a href=\"#return-footnote-777-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-777-3\">Example from https:\/\/musictheoryexamples.com\/22MT.html by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-777-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-777-4\"><span id=\"output\" class=\"outputbox\"><a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/1\/13\/IMSLP790134-PMLP229182-Jacquet_Livre_I_Complet.pdf\" target=\"_blank\" rel=\"noopener\">\"Pi\u00e8ces de clavecin, Livre 1 (Jacquet de La Guerre, Elisabeth)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Gouin,_Pierre\" target=\"_blank\" rel=\"noopener\">Pierre Gouin<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 4.0<\/a><a><\/a><\/span> <a href=\"#return-footnote-777-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_777_1090\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_1090\"><div tabindex=\"-1\"><p>the relationship between keys that have different tonics but share the same key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_3687\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_3687\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ only up to one sharp or flat<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_3688\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_3688\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ by more than one accidental<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_1030\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_1030\"><div tabindex=\"-1\"><p>the relationship between keys that have the same tonic, but a different key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_673\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_673\"><div tabindex=\"-1\"><p>term describing the relationship of notes or chords that sound the same, but are spelled differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_3690\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_3690\"><div tabindex=\"-1\"><p>chord that enacts a modulation by possessing one function in the old key and another function in the new key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_345\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_345\"><div tabindex=\"-1\"><p>term referring to notes within a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_3445\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_3445\"><div tabindex=\"-1\"><p>any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_2246\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_2246\"><div tabindex=\"-1\"><p>the rate of chord change<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_3348\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_3348\"><div tabindex=\"-1\"><p>non-chord tone that is approached by step and resolved by step in the same direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_2148\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_2148\"><div tabindex=\"-1\"><p>process in which a repeating pattern of root motion appears in a harmonic progression<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_777_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_777_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":33,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-777","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":74,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/777\/revisions"}],"predecessor-version":[{"id":7201,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/777\/revisions\/7201"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/777\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=777"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=777"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=777"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}