Modulation Example 1
Haydn, Op. 42, movement 1, bar 40
Parallel thirds start in violins I & II and then move to viola and cello. The music modulates from F major to D minor abruptly via the dominant of the new key. To recreate this procedure:
- sketch out the harmonic progression. You can use the progression here of a different one
F: I–V d: V–I (an abrupt modulation)
- temporarily put the roots of the chords or even the chords themselves in a spare stave and write your idea in thirds or sixths to fit these chords
- delete your guide parts and you are done!
Modulation Example 2
Haydn, Quartet in Bb, Kv458 movement 4, `129
This modulation uses first unison and then parallel thirds to modulate from F major (the dominant of the Bb tonic from the end of the exposition) to C minor (the relative minor of the subdominant).
To recreate this effect.
- use a motif from the exposition in octave unison in the key you are coming from (here F major)
- write a simple idea in thirds that is based on the tonic MINOR chord of the same key (here F minor)
- treat this as a pivot chord (i in F minor / iv in C minor) and follow it with a cadential idea in the new key (here a iv6-V Phrygian cadence)
Modulation Example 3
Beethoven, Quartet Op. 18 No 1 mov. 1, b. 109
This is as simple as it is bold! Beethoven modulates from C major to the unrelated key of A major simply by repeating the last six bars of the codetta at the beginning of the development in the new key. Needs a strong and emphatic idea and plenty of bravado!
Modulation Example 4
Haydn, String Quartet, Op 17 No. 6, First movement, bar 76
Haydn moves to the relative minor at the beginning of the development with a modulating version of the opening theme. He moves from a root position tonic chord in the old key to a diminished seventh that resolves onto the new key. To replicate this progression do the following.
- Plan out the chord progression first:
- Dominant: I – V – I (or similar ending on I)
- Relative minor: dim 7 – i – V7 – i
NOTE: dim 7 needs to be a semitone below the tonic chord of the relative minor
- Adapt / extend your opening idea to fit these chords
Modulation Example 5
Mozart, Quartet No. 4 (K157), First movement, development opening
Mozart does the same dominant to relative minor progression as Haydn in the previous example but he adapts his codetta theme rather than his opening idea. What helps this idea work is the chromatic rise in the bass from G to G# to A.
- Plan out the chord progression first:
- Dominant: I (or progression ending on I)
- Relative minor: dim 7 – i – V7 – i
NOTE: dim 7 needs to be a semitone below the tonic chord of the relative minor
- Adapt / extend your codetta idea to fit these chords
