6.4 Pivot Chord Modulation

Pivot chord modulation is a smooth way to change keys using chords shared between the original and new key. It's like finding a secret passage between two rooms, allowing you to move seamlessly from one musical space to another.

This technique is part of a larger toolkit for modulation. By understanding pivot chords, you'll be able to create more natural and sophisticated key changes in your compositions, adding depth and interest to your music.

Pivot Chord Fundamentals

Shared Chords and Functionality

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• Pivot chords are chords that are common to both the original key and the new key
• These shared chords act as a smooth transition point between the two keys
• Pivot chords often have different functions in each key (tonic in original key, dominant in new key)
• Analyzing the function of the pivot chord in each key helps identify its role in the modulation
• Examples of commonly used pivot chords include:
  • I in original key becoming IV in new key (C major to G major)
  • vi in original key becoming i in new key (C major to A minor)

Types of Pivot Chords

• Functional pivots are chords that have a clear harmonic function in both keys
  • These pivots maintain their functional identity during the modulation (dominant to dominant)
  • Functional pivots provide a stronger sense of resolution in the new key
• Phrase modulation pivots occur at phrase boundaries and often lack a strong functional identity
  • These pivots tend to be tonally ambiguous and rely on phrase structure for smooth transition
  • Phrase modulation pivots are often used in more complex or chromatic modulations
• Examples of functional pivots vs phrase modulation pivots:
  • V in C major becoming III in E minor (functional dominant to mediant pivot)
  • I in F major becoming vi in D minor at a phrase ending (phrase modulation pivot)

Modulation Techniques

Direct Modulation and Tonicization

• Direct modulation is an abrupt change of key without any preparation
  • This technique involves a sudden shift to the new tonic, often without a pivot chord
  • Direct modulations can be jarring but effective in creating dramatic harmonic shifts
• Tonicization is a brief emphasis of a new key without fully establishing it
  • This technique involves temporarily treating a non-tonic chord as a tonic
  • Tonicization adds harmonic color and interest without a complete change of key
• Examples of direct modulation and tonicization:
  • Moving directly from C major to E major without any pivots or preparation
  • Briefly tonicizing the dominant (D major) within a larger C major context

Modulation Preparation and Resolution

• Preparing a modulation involves establishing the new key before the actual pivot occurs
  • Preparation can include using secondary dominants, borrowed chords, or sequences in the new key
  • Effective preparation helps the listener anticipate and accept the upcoming modulation
• Resolving a modulation involves confirming the new key after the pivot has occurred
  • Resolution can include cadences, prolongation of the new tonic, or thematic material in the new key
  • Strong resolution helps solidify the new key and complete the modulation process
• Examples of modulation preparation and resolution:
  • Using a secondary dominant (D7) to prepare a modulation from C major to G major
  • Resolving to the new tonic (A major) with a perfect authentic cadence after the pivot

Modulation Planning

Creating a Modulation Plan

• A modulation plan is a strategic outline of the key changes within a composition
  • The plan includes the order of keys, pivot chords, and modulation techniques to be used
  • Planning helps ensure smooth, logical transitions and a coherent tonal structure
• Factors to consider when creating a modulation plan:
  • The overall form and structure of the piece (sonata form, theme and variations)
  • The desired emotional or dramatic effect of each key change
  • The relationships between keys (relative, parallel, closely related)
  • The placement and pacing of modulations within the larger composition
• Examples of modulation plans:
  • In a sonata form: I (exposition) - V (development) - vi - IV - I (recapitulation)
  • In a theme and variations: I - IV - vi - III - V - I