6.2 Chromatic Modulation

Chromatic modulation takes tonal shifts to the next level. It uses common tones, enharmonic reinterpretation, and chromatic pivot chords to smoothly transition between keys. These techniques allow for more adventurous modulations, expanding the harmonic possibilities beyond closely related keys.

Altered chords and chromatic mediant relationships add spice to progressions. They create tension and instability, requiring resolution to more consonant harmonies. Linear chromatic modulation uses semitone movement to guide the harmony towards a new tonal center, creating a sense of inevitability.

Chromatic Pivot Chords

Common-Tone Modulation and Enharmonic Reinterpretation

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• Common-tone modulation uses a pitch common to both keys as a pivot point to smoothly transition between tonalities
• Involves reinterpreting the function of the common tone within the new key (C major to C minor)
• Enharmonic reinterpretation occurs when a pitch is respelled to serve a different harmonic function (G♯ becomes A♭)
• Enharmonic reinterpretation allows for modulations to distantly related keys by altering the perceived spelling and function of pitches
• Common-tone modulations and enharmonic reinterpretations provide a seamless way to navigate between keys without traditional pivot chords

Chromatic Pivot Chords and Secondary Dominants

• Chromatic pivot chords are chords that belong to neither the original nor the destination key but facilitate a smooth modulation
• These chords often contain chromatic alterations that lead the ear towards the new tonal center
• Secondary dominants, chords that function as a dominant to a degree other than the tonic, can serve as effective chromatic pivot chords (V7/V in C major leading to G major)
• Chromatic pivot chords add color and interest to modulations by briefly tonicizing a new key before fully establishing it
• The use of chromatic pivot chords and secondary dominants expands the range of possible modulations beyond closely related keys

Chromatic Harmony

Altered Chords

• Altered chords are harmonies that contain one or more notes that lie outside the diatonic scale of the current key
• These chords can be formed by raising or lowering specific scale degrees (♭II, ♯IV, ♭VI)
• Altered chords create tension and instability within a progression, often requiring resolution to a more consonant harmony
• The use of altered chords enriches the harmonic palette and allows for more expressive chromaticism within a composition
• Examples of altered chords include the Neapolitan sixth (♭II6) and augmented sixth chords (Italian, French, and German)

Chromatic Mediant Relationships and Linear Chromatic Modulation

• Chromatic mediant relationships involve chords whose roots are a third apart and share a common tone (I to iii, I to vi)
• These relationships can be used to create smooth voice leading and interesting harmonic progressions
• Chromatic mediant relationships often involve one chord from the parallel major or minor key (C major to E minor)
• Linear chromatic modulation occurs when a voice moves by semitone to lead the harmony to a new key
• This type of modulation can be achieved through the use of chromatic passing tones or neighbor tones in one or more voices
• Linear chromatic modulations create a sense of inevitability and forward motion towards the new tonal center (chromatic descent from tonic to leading tone in bass)