{"id":836,"date":"2023-05-24T16:05:33","date_gmt":"2023-05-24T16:05:33","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modulation-by-common-tone\/"},"modified":"2025-08-18T22:17:12","modified_gmt":"2025-08-18T22:17:12","slug":"modulation-by-common-tone","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modulation-by-common-tone\/","title":{"raw":"Modulation by common tone","rendered":"Modulation by common tone"},"content":{"raw":"<div class=\"modulation-by-common-tone\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 39<\/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>How modulations to [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary] key areas by common tone work<\/li>\r\n \t<li>How to identify chromatic mediant chords and common-tone modulations in musical contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modulation by common tone\"><\/a>Modulation by common tone<\/h1>\r\n<p class=\"import-Normal\">This chapter explores the striking effect that results from modulating from one key to another related by [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary]. The common tone between chords related by chromatic mediant may be used as a means for modulation. Example 39\u20111 demonstrates this effect in a modulation by common tone from C major to E[latex]\\flat[\/latex] major ([latex]\\flat[\/latex]III), using the common tone G to connect the keys to one another.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 39\u20111. W. A. Mozart, Piano Concerto no. 17 in G major, K. 453, mvt. 2, mm. 89\u201396[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/d\/d8\/IMSLP35995-PMLP15344-Piano_concerto_no_17.pdf\" target=\"_blank\" rel=\"noopener\">\"Wolfgang Amadeus Mozart (1756-1791) Concierto para Piano No. 17 K. 453 (1784)\"<\/a> by Gory<a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY 3.0<\/a><\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-1024x684.png\" alt=\"image of annotated score, showing Roman numerals in C major: one, five-six, seven-half-diminished six-five of five, five-four-three, five. In E-flat major: one. Above the five chord, scale-degree 5 (sol) = scale-degree 3 (mi) \" width=\"1024\" height=\"684\" class=\"alignnone wp-image-4223 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist L\u00e9onard Hokanson and the Camerata Labacencis, conducted by Kurt Redel, on <a href=\"https:\/\/open.spotify.com\/artist\/7pRh8lFig5a4qXNa5SMvPB\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId227\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 39\u20112 similarly demonstrates a modulation by common tone from G major to B[latex]\\flat[\/latex] major ([latex]\\flat[\/latex]III), using the common tone D to bridge the shift. Listen for bandleader and mandolinist Chris Thile's beautiful tenor voice, singing the D, to enact the modulation about thirty seconds into the audio example.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 39\u20112. Punch Brothers, \u201cFamiliarity,\u201d 6:34\u20137:35<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.2.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4eyl6CaFdDW0jWAQiYyP6E?si=5522689105a44844\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 21st-century American folk band <strong>Punch Brothers<\/strong> by reading this <a class=\"rId228\" href=\"https:\/\/www.punchbrothers.com\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> on their official website.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 39-3 features a common tone modulation, moving from the dominant in E major\u00a0 (BMA) to tonic in G major (GMA). The common tone is B.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 39-3. Blondie, \"Atomic,\" 1:15\u20131:32<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.3.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5QIbR39hAEDIOkr4ggh4xc?si=18c80c315d7c42ef\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n<p class=\"p1\">Learn about 20th-century American rock band <strong>Blondie<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46261\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by David Laing.<\/p>\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: T72 Modulation by common tone (8:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/lrwOIFeUphc?si=PR0AIagcCoykZn_n\r\n<p class=\"import-Normal\">This video presents three examples of modulation to chromatic mediant key areas by common tone. Examples include pieces by Mozart (Example 39-1), Punch Brothers (Example 39-2), and Blondie (Example 39-3).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 39-1 Analysis with chromatic mediants\"><\/a>EXERCISE 39-1 Analysis with chromatic mediants<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 39-1 Analysis with chromatic mediants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Listen to and study the following excerpts, and answer the questions for each example.<\/p>\r\n<p class=\"import-Normal\">Questions for Worksheet example 39\u20111:<\/p>\r\n\r\n<ol>\r\n \t<li>Assuming the key of C major, what is the best Roman numeral label for each of the following chords?\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 40: ______<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 41: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 42: ______<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 43: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 44: ______<\/p>\r\n<\/li>\r\n \t<li>What term(s) best describe(s) the relationship between the chords in mm. 40 and 41?<\/li>\r\n \t<li>What term(s) best describe(s) the relationship between the chords in mm. 42 and 43?<\/li>\r\n \t<li>Why might Faur\u00e9 have had the sopranos sing the word \u201c<em>Lux<\/em>\u201d (light) on C in mm. 45\u201346?<\/li>\r\n \t<li>The section in mm. 47\u201354 is remarkably chromatic. What term best describes the melodic process used in this passage?<\/li>\r\n \t<li>Assuming the first and final chords in mm. 47\u201354 determine its overall key (even though the passage is harmonically unstable), what key does this passage start and end in? ____<\/li>\r\n \t<li>What is the relationship between the key implied in mm. 40\u201345 and the key in the answer to question 6 above?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 39\u20111. Gabriel Faur\u00e9, Requiem, \u201cAgnus Dei,\u201d mm. 40\u201354<\/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-39.1-pt1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-979x1024.png\" alt=\"image of score\" width=\"979\" height=\"1024\" class=\"alignnone size-large wp-image-5853\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-1024x595.png\" alt=\"image of score\" width=\"1024\" height=\"595\" class=\"alignnone size-large wp-image-5854\" \/><\/a>\r\n\r\nListen to the movement, performed by La Chapelle Royale, on <a href=\"https:\/\/open.spotify.com\/track\/4hibMXnUhqyAIGZWaB27rE?si=rDnEBUA9Q1Gjw7I80pfZAw\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>. Access this excerpt by starting the audio just after 2:00.\r\n\r\nRead an <a href=\"https:\/\/oxfordsong.org\/song\/agnus-dei\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the Latin requiem text on the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\/\" target=\"_blank\" rel=\"noopener\">website<\/a>.\r\n\r\nLearn about French composer <strong>Gabriel <\/strong><strong>Faur\u00e9<\/strong> (1845\u20131924) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.09366\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jean-Michel Nectoux.\r\n\r\n<\/div>\r\n<\/div>\r\nQuestions for Worksheet example 39\u20112:\r\n<ol>\r\n \t<li>What is the overall key of the opening section (mm. 1\u201338)? _______<\/li>\r\n \t<li>What is the overall key of the second section (mm. 39\u201360)? _______<\/li>\r\n \t<li>What term best describes the relationship between the keys in the answers to questions 1 and 2 above?<\/li>\r\n \t<li>In what key does the third section (mm. 61\u201372) begin? _______<\/li>\r\n \t<li>What term best describes the relationship between the keys in the answers to questions 2 and 4 above?<\/li>\r\n \t<li>What term best describes the relationship between the keys in the answers to questions 1 and 4 above?<\/li>\r\n \t<li>What is the role of the F[latex]\\sharp[\/latex] in the melody (piano, right hand) in mm. 38\u201339?<\/li>\r\n \t<li>Assuming the key of D major, what is the best Roman numeral label for the following chords? (There may be non-chord tones\u2014use your ears and score analysis techniques to choose the <em>best<\/em> label.)<\/li>\r\n<\/ol>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 45, last chord: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 46, first chord: ______<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">mm. 51\u201352: ______<span style=\"margin-left: 26pt\"><\/span><span style=\"margin-left: 26pt\"><\/span><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">mm. 53\u201354: ______<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 39\u20112. Frederic Chopin, Impromptu, op. 36, mm. 1\u201372<\/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\/image122-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122-1.png\" width=\"1382\" height=\"1773\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image124-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image124-1.png\" width=\"1402\" height=\"1910\" alt=\"image of score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n<p class=\"p1\">Listen to the piece, performed by Howard Shelley, on <a href=\"https:\/\/open.spotify.com\/track\/1NbDoX3wYFVPB0nagXiwY7?si=03b9bb03b62d4928\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a class=\"rId229\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.\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\/2024\/02\/Ex39.1-Analysis-with-chromatic-mediants-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex39.1 Analysis with chromatic mediants<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/49IQ0NhXfdjoUnQuibRUkD?si=d70dc8c808254ef4\">Spotify playlist for modulation by common tone<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 39-2 Modulating dictations\"><\/a>EXERCISE 39-2 Modulating dictations<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 39-2 Modulating dictations<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nThis exercise is to help you learn to aurally identify modulations to chromatic mediants by common tone. For these exercises:\r\n<ul>\r\n \t<li>Play the audio up to four times.<\/li>\r\n \t<li>Your goals are to notate the soprano and bass parts, and to label Roman numerals beneath the staff. You should also indicate the key to which the passage modulates.<\/li>\r\n \t<li style=\"font-weight: 400\">There will always be just four key choices (the mode is always the same). Identify the four chromatic mediant keys to the starting tonic key that have the same mode. In the case of the first dictation below, tonic is F major, so the four areas the dictation could modulate to are D[latex]\\flat[\/latex] major, D major, A[latex]\\flat[\/latex] major, and A major.<\/li>\r\n \t<li style=\"font-weight: 400\">The soprano note will be the common tone shared between the tonic triad of the original key and that of the new key.<\/li>\r\n \t<li style=\"font-weight: 400\">Mark the place where you hear the shift occur. Analyze the soprano part and narrow down your choices. In this exercise, we will always connect the first tonic chord to the new tonic chord via common tone in the soprano. For example, if the first dictation progression went to D[latex]\\flat[\/latex] major, the common tone between D[latex]\\flat[\/latex] major and F major would be F. If it went to D major, the common tone is A; to A[latex]\\flat[\/latex] major, the common tone is C; and to A major, the common tone is A.<\/li>\r\n<\/ul>\r\nThe following dictations also appear in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a> as nos. 23\u201325.\r\n\r\nMODULATING DICTATION 1\r\n\r\n<span>[h5p id=\"75\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/00-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 2\r\n\r\n<span>[h5p id=\"76\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 3\r\n\r\n<span>[h5p id=\"77\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\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\/Ex39.2-Modulating-dictations.pdf\" target=\"_blank\" rel=\"noopener\">Ex39.2 Modulating dictations<\/a><\/div>\r\n<div class=\"textbox shaded\">Want more practice? <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a>, nos. 26\u201328, provides more modulating progressions for practice.<\/div>\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 39<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/reinterpreting-augmented-sixth-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes's chapter on chromatic modulation<\/a> (Open Music Theory)<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"modulation-by-common-tone\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 39<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How modulations to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_836_4161\">chromatic mediant<\/a> key areas by common tone work<\/li>\n<li>How to identify chromatic mediant chords and common-tone modulations in musical contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Modulation by common tone<\/h1>\n<p class=\"import-Normal\">This chapter explores the striking effect that results from modulating from one key to another related by <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_836_4161\">chromatic mediant<\/a>. The common tone between chords related by chromatic mediant may be used as a means for modulation. Example 39\u20111 demonstrates this effect in a modulation by common tone from C major to 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 (<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;\" \/>III), using the common tone G to connect the keys to one another.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 39\u20111. W. A. Mozart, Piano Concerto no. 17 in G major, K. 453, mvt. 2, mm. 89\u201396<a class=\"footnote\" title=\"&quot;Wolfgang Amadeus Mozart (1756-1791) Concierto para Piano No. 17 K. 453 (1784)&quot; by Gory is licensed under CC BY 3.0\" id=\"return-footnote-836-1\" href=\"#footnote-836-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-1024x684.png\" alt=\"image of annotated score, showing Roman numerals in C major: one, five-six, seven-half-diminished six-five of five, five-four-three, five. In E-flat major: one. Above the five chord, scale-degree 5 (sol) = scale-degree 3 (mi)\" width=\"1024\" height=\"684\" class=\"alignnone wp-image-4223 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-1024x684.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-300x200.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-768x513.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-1536x1027.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-2048x1369.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-65x43.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-225x150.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1-350x234.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-836-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist L\u00e9onard Hokanson and the Camerata Labacencis, conducted by Kurt Redel, on <a href=\"https:\/\/open.spotify.com\/artist\/7pRh8lFig5a4qXNa5SMvPB\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId227\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 39\u20112 similarly demonstrates a modulation by common tone from G major to 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 (<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;\" \/>III), using the common tone D to bridge the shift. Listen for bandleader and mandolinist Chris Thile&#8217;s beautiful tenor voice, singing the D, to enact the modulation about thirty seconds into the audio example.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 39\u20112. Punch Brothers, \u201cFamiliarity,\u201d 6:34\u20137:35<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-836-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4eyl6CaFdDW0jWAQiYyP6E?si=5522689105a44844\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 21st-century American folk band <strong>Punch Brothers<\/strong> by reading this <a class=\"rId228\" href=\"https:\/\/www.punchbrothers.com\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a> on their official website.<\/p>\n<\/div>\n<\/div>\n<p>Example 39-3 features a common tone modulation, moving from the dominant in E major\u00a0 (BMA) to tonic in G major (GMA). The common tone is B.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 39-3. Blondie, &#8220;Atomic,&#8221; 1:15\u20131:32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-836-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-39.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5QIbR39hAEDIOkr4ggh4xc?si=18c80c315d7c42ef\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 20th-century American rock band <strong>Blondie<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46261\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by David Laing.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T72 Modulation by common tone (8:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T72 Modulation by Common Tone\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/lrwOIFeUphc?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video presents three examples of modulation to chromatic mediant key areas by common tone. Examples include pieces by Mozart (Example 39-1), Punch Brothers (Example 39-2), and Blondie (Example 39-3).<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 39-1 Analysis with chromatic mediants<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 39-1 Analysis with chromatic mediants<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Listen to and study the following excerpts, and answer the questions for each example.<\/p>\n<p class=\"import-Normal\">Questions for Worksheet example 39\u20111:<\/p>\n<ol>\n<li>Assuming the key of C major, what is the best Roman numeral label for each of the following chords?\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 40: ______<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 41: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 42: ______<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 43: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 44: ______<\/p>\n<\/li>\n<li>What term(s) best describe(s) the relationship between the chords in mm. 40 and 41?<\/li>\n<li>What term(s) best describe(s) the relationship between the chords in mm. 42 and 43?<\/li>\n<li>Why might Faur\u00e9 have had the sopranos sing the word \u201c<em>Lux<\/em>\u201d (light) on C in mm. 45\u201346?<\/li>\n<li>The section in mm. 47\u201354 is remarkably chromatic. What term best describes the melodic process used in this passage?<\/li>\n<li>Assuming the first and final chords in mm. 47\u201354 determine its overall key (even though the passage is harmonically unstable), what key does this passage start and end in? ____<\/li>\n<li>What is the relationship between the key implied in mm. 40\u201345 and the key in the answer to question 6 above?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 39\u20111. Gabriel Faur\u00e9, Requiem, \u201cAgnus Dei,\u201d mm. 40\u201354<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-979x1024.png\" alt=\"image of score\" width=\"979\" height=\"1024\" class=\"alignnone size-large wp-image-5853\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-979x1024.png 979w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-287x300.png 287w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-768x804.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-65x68.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-225x235.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt1-rev-350x366.png 350w\" sizes=\"auto, (max-width: 979px) 100vw, 979px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-1024x595.png\" alt=\"image of score\" width=\"1024\" height=\"595\" class=\"alignnone size-large wp-image-5854\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-1024x595.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-300x174.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-768x447.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-1536x893.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-2048x1191.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-65x38.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-225x131.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-39.1-pt2-rev-350x204.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Listen to the movement, performed by La Chapelle Royale, on <a href=\"https:\/\/open.spotify.com\/track\/4hibMXnUhqyAIGZWaB27rE?si=rDnEBUA9Q1Gjw7I80pfZAw\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>. Access this excerpt by starting the audio just after 2:00.<\/p>\n<p>Read an <a href=\"https:\/\/oxfordsong.org\/song\/agnus-dei\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the Latin requiem text on the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\/\" target=\"_blank\" rel=\"noopener\">website<\/a>.<\/p>\n<p>Learn about French composer <strong>Gabriel <\/strong><strong>Faur\u00e9<\/strong> (1845\u20131924) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.09366\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jean-Michel Nectoux.<\/p>\n<\/div>\n<\/div>\n<p>Questions for Worksheet example 39\u20112:<\/p>\n<ol>\n<li>What is the overall key of the opening section (mm. 1\u201338)? _______<\/li>\n<li>What is the overall key of the second section (mm. 39\u201360)? _______<\/li>\n<li>What term best describes the relationship between the keys in the answers to questions 1 and 2 above?<\/li>\n<li>In what key does the third section (mm. 61\u201372) begin? _______<\/li>\n<li>What term best describes the relationship between the keys in the answers to questions 2 and 4 above?<\/li>\n<li>What term best describes the relationship between the keys in the answers to questions 1 and 4 above?<\/li>\n<li>What is the role of the 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;\" \/> in the melody (piano, right hand) in mm. 38\u201339?<\/li>\n<li>Assuming the key of D major, what is the best Roman numeral label for the following chords? (There may be non-chord tones\u2014use your ears and score analysis techniques to choose the <em>best<\/em> label.)<\/li>\n<\/ol>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 45, last chord: ______<span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">m. 46, first chord: ______<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">mm. 51\u201352: ______<span style=\"margin-left: 26pt\"><\/span><span style=\"margin-left: 26pt\"><\/span><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">mm. 53\u201354: ______<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 39\u20112. Frederic Chopin, Impromptu, op. 36, mm. 1\u201372<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image122-1.png\" width=\"1382\" height=\"1773\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image124-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image124-1.png\" width=\"1402\" height=\"1910\" alt=\"image of score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p class=\"p1\">Listen to the piece, performed by Howard Shelley, on <a href=\"https:\/\/open.spotify.com\/track\/1NbDoX3wYFVPB0nagXiwY7?si=03b9bb03b62d4928\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a class=\"rId229\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jim Samson.<\/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\/2024\/02\/Ex39.1-Analysis-with-chromatic-mediants-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex39.1 Analysis with chromatic mediants<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/49IQ0NhXfdjoUnQuibRUkD?si=d70dc8c808254ef4\">Spotify playlist for modulation by common tone<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 39-2 Modulating dictations<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 39-2 Modulating dictations<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>This exercise is to help you learn to aurally identify modulations to chromatic mediants by common tone. For these exercises:<\/p>\n<ul>\n<li>Play the audio up to four times.<\/li>\n<li>Your goals are to notate the soprano and bass parts, and to label Roman numerals beneath the staff. You should also indicate the key to which the passage modulates.<\/li>\n<li style=\"font-weight: 400\">There will always be just four key choices (the mode is always the same). Identify the four chromatic mediant keys to the starting tonic key that have the same mode. In the case of the first dictation below, tonic is F major, so the four areas the dictation could modulate to are 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, D major, 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, and A major.<\/li>\n<li style=\"font-weight: 400\">The soprano note will be the common tone shared between the tonic triad of the original key and that of the new key.<\/li>\n<li style=\"font-weight: 400\">Mark the place where you hear the shift occur. Analyze the soprano part and narrow down your choices. In this exercise, we will always connect the first tonic chord to the new tonic chord via common tone in the soprano. For example, if the first dictation progression went to 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, the common tone between 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 F major would be F. If it went to D major, the common tone is A; to 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, the common tone is C; and to A major, the common tone is A.<\/li>\n<\/ul>\n<p>The following dictations also appear in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a> as nos. 23\u201325.<\/p>\n<p>MODULATING DICTATION 1<\/p>\n<p><span><\/p>\n<div id=\"h5p-75\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-75\" class=\"h5p-iframe\" data-content-id=\"75\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Modulating dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-836-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/00-audio.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/00-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/00-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 2<\/p>\n<p><span><\/p>\n<div id=\"h5p-76\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-76\" class=\"h5p-iframe\" data-content-id=\"76\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Modulating dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-836-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-audio.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 3<\/p>\n<p><span><\/p>\n<div id=\"h5p-77\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-77\" class=\"h5p-iframe\" data-content-id=\"77\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Modulating dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-836-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-audio.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/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\/Ex39.2-Modulating-dictations.pdf\" target=\"_blank\" rel=\"noopener\">Ex39.2 Modulating dictations<\/a><\/div>\n<div class=\"textbox shaded\">Want more practice? <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a>, nos. 26\u201328, provides more modulating progressions for practice.<\/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 39<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/reinterpreting-augmented-sixth-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes&#8217;s chapter on chromatic modulation<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-836-1\"><span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/d\/d8\/IMSLP35995-PMLP15344-Piano_concerto_no_17.pdf\" target=\"_blank\" rel=\"noopener\">\"Wolfgang Amadeus Mozart (1756-1791) Concierto para Piano No. 17 K. 453 (1784)\"<\/a> by Gory<a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY 3.0<\/a><\/span> <a href=\"#return-footnote-836-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_836_4161\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_836_4161\"><div tabindex=\"-1\"><p>any major or minor triad whose root is related by major or minor third to tonic, and which contains at least one chromatic note; also refers to a key relationship in which the tonics are related by major or minor third and the keys are not closely related<\/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":39,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-836","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/836","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":48,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/836\/revisions"}],"predecessor-version":[{"id":7139,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/836\/revisions\/7139"}],"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\/836\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=836"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=836"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=836"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=836"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}