6.5 Secondary dominants and modulation
11 min read•august 20, 2024
Secondary dominants and are key concepts in tonal harmony. These techniques add color and movement to music, creating tension and release. Secondary dominants temporarily emphasize non-tonic chords, while modulation shifts the entire .
Understanding these concepts allows musicians to analyze complex harmonic progressions and create more interesting compositions. By using secondary dominants and modulation, composers can guide listeners through different tonal landscapes, adding depth and emotional impact to their music.
Secondary dominants
- Secondary dominants are chords that temporarily tonicize a scale degree other than the tonic
- They add harmonic interest, color, and tension to a musical passage
- Secondary dominants are formed by raising the third and seventh scale degrees of the chord being tonicized
Definition of secondary dominants
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- A secondary dominant is a dominant seventh chord that resolves to a degree of the scale other than the tonic
- It is a chord that is the dominant of a degree other than the tonic
- Secondary dominants are labeled with the formula V/x, where x is the scale degree being tonicized (, , , , )
Function of secondary dominants
- Secondary dominants create a temporary of a non-tonic scale degree
- They add tension and pull towards the chord they are tonicizing
- Secondary dominants create a sense of movement and harmonic interest in a progression
- They can be used to emphasize certain chords or to create a temporary
Chromatic alterations in secondary dominants
- Secondary dominants often require to form a major third and minor seventh above the root
- The chromatic alterations are typically not written in the key signature but are instead notated with accidentals
- Common chromatic alterations include raised thirds (leading tones) and raised sevenths
Resolving secondary dominants
- Secondary dominants typically resolve to the chord a fifth below (V/ii resolves to ii, V/V resolves to V, etc.)
- The resolution of a secondary dominant is similar to the resolution of a regular dominant to tonic
- The seventh of the secondary dominant resolves down by step, while the third resolves up by half-step to the root of the next chord
Secondary leading-tone chords
- , also known as secondary diminished sevenths, are similar to secondary dominants but are built on the of the tonicized key
- They are labeled with the formula , where x is the scale degree being tonicized (vii°/ii, vii°/V, etc.)
- Secondary leading-tone chords also resolve to the chord a fifth below and contain chromatic alterations
Deceptive resolutions of secondary dominants
- While secondary dominants typically resolve to the chord a fifth below, they can also have deceptive resolutions
- A occurs when a secondary dominant resolves to a chord other than the expected one
- Common deceptive resolutions include resolving to the submediant (vi) or the subdominant (IV) of the tonicized key
Modulation
- Modulation is the process of changing from one key to another within a musical composition
- It is a fundamental technique used in Western classical music and other genres
- Modulations add variety, interest, and structural organization to a piece
Definition of modulation
- Modulation is the change from one key to another within a musical composition
- It involves a shift in the tonal center and the introduction of new pitches and harmonic relationships
- Modulations can be temporary or permanent, and they can occur suddenly or gradually
Purpose of modulation
- Modulations add variety and interest to a musical composition
- They can be used to create contrast between sections of a piece (verse vs. chorus, exposition vs. development, etc.)
- Modulations can also convey changes in mood, emotion, or dramatic narrative
- They can be used to organize the structure of a piece and create a sense of departure and return
Types of modulation
- There are several types of modulation, each with its own characteristics and techniques
- Common types of modulation include:
Common chord modulation
- Common chord modulation occurs when a chord is shared between the original key and the new key
- The shared chord, often a diatonic chord in both keys, acts as a smooth transition point between the keys
- Example: In a modulation from C major to G major, the D minor chord (ii in C, vi in G) can serve as a common chord
Chromatic modulation
- Chromatic modulation involves the use of chromatic chords or progressions to move from one key to another
- It often employs secondary dominants, diminished seventh chords, or other chromatic harmonies to destabilize the original key and establish the new key
- Example: A secondary dominant (D7) in the key of C major can be used to modulate to the key of G major
Phrase modulation
- Phrase modulation, also known as sequential modulation, occurs when a melodic or harmonic phrase is repeated at a different pitch level, leading to a new key
- The repetition of the phrase in the new key helps to establish the modulation
- Example: A melodic phrase in C major is repeated a whole step higher, leading to a modulation to D major
Direct modulation
- Direct modulation, also known as abrupt or unprepared modulation, occurs when the music shifts to a new key without any preparation or transition
- The new key is often introduced by a cadence or a sudden change in harmony
- Example: A piece in C major suddenly shifts to E-flat major without any transitional material
Pivot chord modulation
- Pivot chord modulation occurs when a chord functions as a pivot point between the original key and the new key
- The pivot chord belongs to both keys and is reinterpreted as a different scale degree in the new key
- Example: In a modulation from C major to A minor, the E minor chord can serve as a pivot (iii in C, v in A minor)
Key relationships in modulation
- Modulations often occur between keys that are closely related or share common tones
- have many diatonic chords in common and differ by only one accidental in their key signatures
- Distant keys have fewer common tones and require more chromatic alterations to modulate smoothly
Closely related keys vs distantly related keys
- Closely related keys to a major key include:
- The dominant (a fifth above)
- The subdominant (a fifth below)
- The relative minor (a minor third below)
- Closely related keys to a minor key include:
- The relative major (a minor third above)
- The subdominant (a fifth below)
- The dominant minor (a fifth above)
- have fewer common tones and require more chromatic alterations to modulate smoothly
Common modulation destinations
- Some of the most common destinations for modulation include:
- (G major from C major)
- (A minor from C major, C major from A minor)
- (F major from C major)
- These modulations are often used in specific sections of a piece, such as the development section of a sonata form
Modulation to the dominant
- Modulation to the dominant is one of the most common types of modulation in Western classical music
- It creates a sense of tension and expectation, as the dominant key naturally pulls back towards the tonic
- In a major key, modulation to the dominant involves raising the fourth scale degree to create a leading tone in the new key
Modulation to the relative major/minor
- Modulation to the relative major or minor is another common type of modulation
- It involves a shift between parallel major and minor keys that share the same tonic
- The modulation is relatively smooth due to the shared tonic and the presence of many common tones between the keys
Modulation to the subdominant
- Modulation to the subdominant is less common than modulation to the dominant or relative major/minor
- It creates a sense of relaxation or resolution, as the subdominant key is less tense than the dominant
- In a major key, modulation to the subdominant involves lowering the seventh scale degree to create a new leading tone
Returning to the original key after modulation
- After a modulation, it is common for the music to return to the original key
- This return can be achieved through various means, such as:
- A direct modulation back to the original key
- A gradual transition using pivot chords or common tones
- A restatement of the opening material in the original key
- The return to the original key provides a sense of resolution and closure to the musical journey
Analysis of secondary dominants and modulation
- Analyzing secondary dominants and modulations is an essential skill for understanding the harmonic structure and tonal organization of a piece
- It involves identifying chromatically altered chords, recognizing key changes, and interpreting the function of these harmonic events within the context of the music
Identifying secondary dominants in music
- To identify secondary dominants, look for chromatically altered chords that resolve to a chord other than the tonic
- Pay attention to raised thirds and sevenths, which are characteristic of dominant seventh chords
- Analyze the resolution of the to determine which scale degree is being tonicized
Analyzing modulations in musical examples
- When analyzing modulations, identify the original key and the new key(s) to which the music modulates
- Look for key-defining cadences, such as perfect authentic cadences, to confirm the establishment of a new key
- Determine the type of modulation used (common chord, chromatic, pivot chord, etc.) based on the harmonic and melodic material
Modulation points and transitional passages
- Modulations often occur at specific points in a musical form, such as the transition between the exposition and development sections in sonata form
- Identify transitional passages that lead from one key to another, paying attention to chromaticism, sequences, and other destabilizing elements
- Analyze how the composer prepares and establishes the new key through harmonic and melodic means
Multiple modulations within a piece
- Some pieces may contain multiple modulations, either to closely related or distantly related keys
- Trace the path of modulations throughout the piece, noting the order of keys and the relationships between them
- Consider how the multiple modulations contribute to the overall structure, tension, and resolution of the music
Secondary dominants as a means of modulation
- Secondary dominants can be used to initiate a modulation to a new key
- A secondary dominant that resolves to a non-tonic chord can be reinterpreted as the dominant of the new key, leading to a modulation
- Analyze how secondary dominants function within the context of a modulation, either as a means of establishing the new key or as a temporary tonicization within the modulation
Tonicization vs modulation
- Tonicization is the temporary emphasis of a non-tonic scale degree through the use of secondary dominants or other chromatic chords
- Modulation, on the other hand, is a more substantial and lasting shift to a new key
- Distinguish between brief tonicizations and true modulations by considering the duration and stability of the new key area
- Tonicizations often occur within a phrase or over a short passage, while modulations typically involve a more extended and significant key change
Composition with secondary dominants and modulation
- Incorporating secondary dominants and modulations into musical compositions can add depth, interest, and expressive potential to the music
- Understanding the techniques and principles behind these harmonic devices allows composers to use them effectively in their own works
Using secondary dominants in composition
- When composing with secondary dominants, consider the following:
- Which scale degrees to tonicize and how the secondary dominants will function within the harmonic progression
- The voice leading and resolution of the secondary dominant chords
- How the secondary dominants contribute to the overall tension and release in the music
- Use secondary dominants to highlight important moments, emphasize specific chords, or create a sense of harmonic motion
Planning modulations in composition
- When planning modulations in a composition, consider the following:
- The purpose and effect of the modulation within the context of the piece
- The type of modulation to use (common chord, chromatic, pivot chord, etc.) based on the desired smoothness or abruptness of the key change
- The timing and placement of the modulation within the form and structure of the piece
- Use modulations to create contrast, develop thematic material, or convey changes in mood or character
Smooth transitions between keys
- To create smooth transitions between keys, use techniques such as:
- Common chord modulation, where a diatonic chord is shared between the original key and the new key
- Pivot chord modulation, where a chord functions as a link between the two keys
- Gradual introduction of chromatic tones to destabilize the original key and prepare the new key
- Pay attention to voice leading and the resolution of chromatically altered tones to ensure a seamless transition
Maintaining coherence through modulation
- When using modulations in a composition, it is important to maintain a sense of coherence and unity despite the key changes
- Use motifs, themes, or other unifying elements that can be recognized across different key areas
- Plan the overall tonal structure of the piece, considering the relationships between keys and the path of modulations
- Use modulations to create a sense of departure and return, ultimately resolving back to the original key or a closely related key
Modulation for emotional effect
- Modulations can be used to convey or evoke specific emotions, moods, or dramatic effects in music
- For example:
- Modulation to the relative minor can create a sense of sadness, introspection, or tension
- Modulation to the dominant can create a sense of excitement, anticipation, or heroism
- Modulation to a distant key can create a sense of surprise, mystery, or transcendence
- Consider the emotional arc of the piece and how modulations can support or enhance the desired expressive trajectory
Modulation in different musical styles and genres
- The use of modulation varies across different musical styles and genres
- In classical music, modulation is a central feature of tonal harmony and is used extensively in forms such as sonata, symphony, and concerto
- In popular music, modulation is often used in specific sections of a song, such as the bridge or the final chorus, to create contrast or heighten emotional intensity
- In jazz, modulation is frequently used for improvisation, with musicians exploring different key centers and tonal relationships within a single performance
- Consider the stylistic conventions and expectations of the genre when incorporating modulations into a composition
Key Terms to Review (34)
Altered chord: An altered chord is a chord that has been modified by changing one or more of its notes, often to create tension or color in a harmonic progression. These modifications typically involve altering the fifth or seventh degree of the chord, such as raising or lowering these pitches, to create a more complex sound. Altered chords are frequently used in jazz and other genres to enhance secondary dominants and facilitate modulation between keys.
Beethoven's Symphony No. 5: Beethoven's Symphony No. 5 in C minor, Op. 67, is a landmark composition that premiered in 1808, recognized for its iconic four-note motif that represents 'fate knocking at the door.' This symphony is significant for its use of secondary dominants and modulation throughout the movements, showcasing Beethoven's innovative approach to harmony and form.
Borrowed chords: Borrowed chords are chords that are taken from a parallel key, which can create interesting harmonic variation and tension in music. They add color to chord progressions by introducing unexpected harmonies that aren't typically found in the original key, enhancing the emotional impact and depth of the music.
Chopin's Nocturne in E-flat Major: Chopin's Nocturne in E-flat Major, Op. 9 No. 2, is a lyrical piano piece composed in the early 1830s, showcasing the elegance and emotional depth characteristic of Romantic music. This nocturne exemplifies the use of secondary dominants and modulation, where the harmony shifts to emphasize different tonal centers, creating tension and resolution throughout the piece.
Chromatic alterations: Chromatic alterations refer to the intentional modification of a pitch by raising or lowering it a half step, which introduces notes outside the traditional diatonic scale. These alterations add color and tension to music, often enriching harmonic progressions and facilitating smoother transitions between keys. They play a crucial role in secondary dominants and modulation, as they allow composers to create temporary departures from the original key, enhancing expressiveness and dynamic movement in a piece.
Chromatic modulation: Chromatic modulation is a technique used in music to change keys by using chromatic movement, typically involving the use of accidentals or altered chords. This method allows composers to smoothly transition from one key to another, often creating a sense of surprise or tension. It enhances the expressive quality of music by introducing unexpected tonal shifts that can elevate the emotional impact of a piece.
Circle of Fifths: The Circle of Fifths is a visual representation of the relationships between the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor scales. This tool helps musicians understand how keys relate to one another, facilitates modulation between keys, and supports the construction and analysis of harmonic progressions and triads.
Closely related keys: Closely related keys refer to the major and minor keys that are only a step apart on the circle of fifths, making them harmonically compatible. This relationship allows for smooth modulation between these keys, facilitating transitions in music that maintain listener interest and enhance harmonic progression. Such modulations often involve secondary dominants, which further enrich the musical texture by introducing temporary changes that resolve back to the original key.
Common chord modulation: Common chord modulation is a technique used to shift from one key to another by utilizing a chord that is common to both keys. This method creates a smooth transition between different harmonic areas, enhancing the flow of music. By focusing on a shared chord, composers can effectively pivot from one tonal center to another while maintaining a sense of cohesion in their progressions.
Deceptive resolution: Deceptive resolution is a musical technique where a chord that suggests a strong resolution to a tonic does not resolve as expected, creating an element of surprise or tension. This technique often involves using the submediant chord (vi) instead of the expected tonic (I), providing a sense of continuation rather than closure, which is particularly effective in secondary dominants and modulation.
Direct modulation: Direct modulation is a technique in music where a composer shifts from one key to another without any transitional chord or pivot point, creating an immediate change in tonality. This method can generate dramatic contrasts and heightened emotional effects, often used in various musical genres to surprise the listener. It is particularly effective in the context of secondary dominants and modulation, where composers aim to explore different harmonic territories quickly.
Distantly related keys: Distantly related keys refer to pairs of musical keys that are separated by more than one step on the circle of fifths, meaning they share few, if any, common tones. This concept is significant in the context of secondary dominants and modulation, as it allows composers to create surprising harmonic shifts that enhance emotional expression and contrast within a piece of music.
Dominant function: The dominant function refers to the role played by the fifth scale degree in a tonal context, primarily serving as a point of tension that resolves to the tonic. This function is crucial for establishing harmonic direction and creating a sense of resolution in music. It often involves the use of dominant chords that lead back to the home chord, generating a feeling of completeness and closure in a musical phrase.
Functional Harmony: Functional harmony refers to the system of chords and their relationships that create a sense of movement and resolution within a piece of music. This concept emphasizes how different chords serve specific roles in relation to the tonic, dominant, and subdominant, guiding the listener through a musical narrative. It is essential in understanding chord progressions, the use of triads and seventh chords, and how these elements work together in harmonic dictation and accompaniment.
J.S. Bach: Johann Sebastian Bach was a German composer and musician of the Baroque period, renowned for his intricate and highly structured musical compositions. His work embodies the essence of harmony, melody, and counterpoint, serving as a cornerstone in Western classical music. Bach's innovative use of intervals, secondary dominants, modulation techniques, and complex harmonization methods have significantly influenced music theory and practice.
Key Change: A key change, or modulation, is the process of shifting from one key to another within a piece of music. This shift can create a sense of contrast, excitement, or resolution and is often used to enhance the emotional and dynamic qualities of the music. Understanding key changes is essential for analyzing how composers develop their musical ideas and manipulate the listener's experience through harmonic transitions.
Leading tone: The leading tone is the seventh scale degree in a major or harmonic minor scale, which has a strong tendency to resolve up to the tonic note, creating a sense of tension and release. This concept is essential for understanding how melodies and harmonies are constructed, as it plays a crucial role in establishing key relationships and emotional impact in music.
Modal interchange: Modal interchange is the technique of borrowing chords from parallel modes to enrich harmonic progressions. This process allows composers to create unexpected color and emotional depth in their music, enhancing the overall sound by introducing chords that may not typically belong to the original key. Modal interchange opens up a variety of expressive possibilities by combining elements from different modal frameworks, making it a powerful tool for both composition and improvisation.
Modulation: Modulation is the process of changing from one key to another within a piece of music, which can create contrast, excitement, and emotional depth. This shift in tonality can enhance chord progressions by adding variety and can also play a crucial role in harmonic progression. Modulation is often facilitated by secondary dominants, which serve as temporary dominant chords leading into the new key, making transitions smoother. Additionally, understanding modulation helps with transposition, allowing musicians to shift music into different keys effectively, and supports harmonic improvisation by providing a framework for creating melodies that move between keys.
Modulation to the Dominant: Modulation to the dominant refers to the process of changing the tonal center of a piece of music to the dominant key, which is the fifth degree of the original scale. This technique is often used to create tension and a sense of movement within a composition, as it leads the listener's ear away from the tonic and towards a new tonal area. By moving to the dominant key, composers can enhance harmonic interest and set up a return to the original key, making it a crucial tool in both classical and contemporary music.
Modulation to the relative major/minor: Modulation to the relative major/minor refers to the process of changing from one key to its relative major or minor key. This technique allows composers to create contrast and develop musical ideas by exploring different tonalities, enriching the harmonic landscape of a piece. It's essential in establishing new emotional atmospheres and can provide an effective transition within a musical work.
Modulation to the subdominant: Modulation to the subdominant refers to the process of changing from the original key to the subdominant key within a piece of music, which is typically a fourth below the original tonic. This type of modulation creates a sense of contrast and can enhance the emotional impact of a piece, as it often leads to new melodic ideas and harmonic textures. It's a crucial aspect in compositions, helping to develop themes and maintain listener interest by providing a refreshing shift in tonality.
Phrase modulation: Phrase modulation is a technique in music that involves changing the key or tonal center of a piece at the end of a musical phrase. This shift can create contrast and interest, often leading to a new section or development in the composition. It typically occurs in a seamless manner, allowing the listener to experience a smooth transition into a different key without feeling abrupt.
Pivot chord modulation: Pivot chord modulation is a technique used in music to smoothly transition from one key to another by using a chord that is common to both keys. This allows composers and musicians to create seamless shifts in tonality without jarring the listener, enhancing the overall musical narrative. The pivot chord serves as a bridge, facilitating a natural flow between the original key and the new key, often utilizing secondary dominants or closely related chords.
Richard Wagner: Richard Wagner was a German composer, conductor, and theater director known for his revolutionary contributions to opera and musical drama in the 19th century. He is most famous for his innovative use of harmony, leitmotifs, and his concept of Gesamtkunstwerk, which aimed to unify music, poetry, and visual arts in a single performance, all of which can be connected to secondary dominants and modulation in his compositions.
Secondary leading-tone chords: Secondary leading-tone chords are diminished chords built on the seventh scale degree of a diatonic scale, functioning as a predominant chord that leads to a primary chord. These chords create tension and resolve to a more stable chord, often used to add interest and variety to harmonic progressions. They play an important role in modulation by facilitating movement between keys.
Tonal center: A tonal center is the primary pitch or chord around which a piece of music is organized, providing a sense of resolution and stability. It acts as the focal point that gives music its structure, influencing harmony, melody, and rhythm. Understanding tonal centers is crucial for grasping how various musical elements interact and develop throughout a composition.
Tonicization: Tonicization is the process of temporarily emphasizing a chord as the tonic within a musical context, often through the use of secondary dominants. This technique allows composers to create a sense of movement and resolution by briefly treating a chord other than the main tonic as the primary focus. It enriches harmonic progressions by introducing new tonal centers and adds depth to melodies.
V/ii: The symbol v/ii represents a secondary dominant chord that resolves to the supertonic chord (ii) in a given key. This is part of a larger practice where chords that are not the primary tonic are treated as if they were, creating tension and a stronger pull to the eventual resolution. The use of secondary dominants enriches harmonic progressions and facilitates modulation by introducing temporary tonicizations of non-tonic chords.
V/iii: The term v/iii refers to a secondary dominant chord that functions as the dominant of the mediant (iii) in a given key. This chord creates tension and resolves to the iii chord, enhancing the harmonic progression and adding interest to the music. The use of secondary dominants, including v/iii, allows composers to temporarily emphasize chords outside of the home key, facilitating modulation and creating richer musical textures.
V/iv: The term v/iv refers to a secondary dominant chord in music theory, specifically the dominant (v) chord of the subdominant (iv) chord within a given key. This concept highlights how secondary dominants function to create tension and lead into the diatonic iv chord, effectively enhancing harmonic progressions and facilitating modulation between keys.
V/v: The symbol v/v refers to a secondary dominant chord that functions as the dominant of the dominant in a key. This concept is crucial in understanding harmonic progressions and modulation, as it allows composers to create tension and resolution by temporarily emphasizing a different tonal center before resolving back to the original key. Using v/v enriches musical texture and creates smooth transitions between keys, enhancing overall musical expression.
V/vi: In music theory, v/vi refers to the dominant chord (v) that resolves to the tonic chord of a minor scale, which is the submediant (vi) in a major key. This creates a secondary dominant relationship where the v chord is functioning as a dominant to the vi chord, establishing a brief modulation or tonicization of the vi in the context of a larger harmonic progression.
Vii°/x: The term vii°/x refers to a secondary leading-tone chord, typically functioning as a dominant chord that resolves to the tonic of a different key. This chord is built on the seventh scale degree of the key where it resolves and is often used to create tension before modulating to a new tonal center. It adds richness to harmonic progressions by providing a way to smoothly transition between different keys.