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Your favorite modulation tricks and tips?

oh your welcome

They came from a book ( i can't remember what ) .They where labeled as the most direct. Max Reger's book is a good resource too. But i do agree with Mr Fossil , context is everything .

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They came from a book ( i can't remember what ) .They where labeled as the most direct. Max Reger's book is a good resource too. But i do agree with Mr Fossil , context is everything .

I agree too in principle. But I also agree with wst3. I am too lame musically to be where Mr. Fossil recommends. Right now I'll learn my multiplication tables, and eventually, when I can do basic math, I will learn how to do derivatives from first principles. :)
 
I tend to use modulation quite carefully and deliberately in my writing.

If you have a captive audience in a film, TV, or game – or song, even – I believe ample time exists to establish tonality and use modulation as another dramatic tool. It opens a whole dimension of possibilities. I don't think listeners are desensitized to it at all.

Here are a couple of my favourite examples of using modulation within a melody to make things more exciting. These are simple transcriptions with chords marked at the top (with key signatures and double bars to emphasize the modulation).

In Goldsmith's STAR TREK TMP, at the end of the "A" section (bars 16 & 17 of this transcription), we modulate from Bb Mixolydian to D Mixolydian with the chords F (V of Bb) to D. The melody bridges across with the common tone of the two chords, A. The bass also descends to D with an Eb passing tone.

Then, for the second variation of the "B" theme (bars 24 & 25), he modulates from D Mixolydian to Eb Lydian with the chords C (VII) to Eb. Again, the melody carries the common tone, G, across this modulation.

These are sudden, exciting modulations that use chromatic mediant relationships:

https://postimg.org/image/5j3arod37/

In James Horner's KRULL, something very similar happens. Again, the common tone carries across a sudden, chromatic mediant modulation in bars 6 & 7. In this case, the common tone E, carries across the chords E (I) & C, where C is now V of the new key (F major). Then, in bars 8 & 9, we modulate from F to D using the chords F & A (where A is again V of the new key):

https://postimg.org/image/ttrakdw0l/
 
While I'm sure that some of the suggestions made here might contain some useful information, i'd like to mention the reason why i basically rather do not like that kind of "tips & tricks":

First, better than learning some specific modulations, learns what's the underlying logic.
One can generalize some types of modulations, e.g. those with common chords, those with chromatic lines, those with enharmonic changes etc etc

I was all set to disagree with you and then I looked more closely at some of the tips and read more closely what you said. Everything I saw (I'm not saying its necessarily everything that's posted here, just the handful that I actually bothered to look at) was "start in key A, go to the V dominant 7th of key B, go to key B". So, that's basically one technique, I think.
 
If i'd wear the musicologist hat, I'd say that besides that^(V7 to the next key), the anticipation created through the modulating harmony with its rhythm, and melody following, and all of that going to the next key, is one of the major factors here, to go more smoothly, if that is the case.
 
it's the brevity that's useful. And yes using V7 of the new key is hardly a trick but it's sort of difficult to establish that you HAVE changed key without it. JW moves between keys all the time without establishing a new key...as does BACH. But if your after a MODULATION...then you'll need something to indicate that has happened......

e
 
Where is the sticky for modulations ? I cannot seem to find the stickies anywhere. And will this be added to it ?

Tnx, Bob
 
Seems that many people like mixolydian, for some reason, but it's hard to avoid the dominant (mixolydian scale, with flat 7, will not have a leading tone). Here's a modulation from I in A mixolydian to IV, D mixolydian, where as soon as the modulation is complete the new tonality is D mixolydian and the original leading tone G# is now available but the new key has to keep the lowered seventh (C natural). A: I | I7 | Vb543/vi | IV 64 I || D: I

The "Vb543/vi" is a 9th chord in second inversion -- in root position it would be C# E# G# B D; "IV 64" D in second inversion, A D F#.

The modulation begins about 1:30 in this: ; like many other musical twists, it's fun to keep within certain parameters and still make music that satisfies.
 
I study composition in Vienna, a part of our first diplom exam is to modulate "live" from one key to another (Bmin to EbMaj, for example).
For those who are interested, here are some sequences that can be used for modulation:
modulation sequences.jpg
 
As I develop my own style, I find that certain notes can be introduced that 'tug" the music towards a new tonal center or modal excursion. Not that I have any formula or rules, it has to be organic to the music flow, but I like it when something unpredictable happens that adds color or mood.

That being said, if I *have* learned a rule, its that voice leading will help you get away with almost anything. I wrote something recently that jumbled chords together from the keys of C and E, and it all worked because the voice leading created a sort of gravitational pull that made it all sound natural and flowing. (Example attached)

[AUDIOPLUS=https://vi-control.net/community/attachments/horn-voicing-mp3.5748/][/AUDIOPLUS]
 

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@Stepan: Intresting to see in your example 4.1 is that the fourth of the second inversion ('d' above 'a' does not resolve to 'cis' as one would expect in an academic context, but to 'e'). Can you tell me from which book these examples come?

modulation-sequences-jpg.5412
 
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At the start of Dvorak's 9th symphony, second movement there's this classic modulation from E major to Db major.
The chord projection is: E Bb/D E Db A F#m6 Db

One of the reasons why this sound so good is beacause of the top notes of the chord. It moves in very small intevals. Only minor and major seconds. That's why we'll accept the drastic chord changes.
Note that when we come to Db the first time we're still actually still in E, it's just a hint of what's still to come.
Also note that there's no V leading to the I (no Ab before Db). Instead Dvorak moves from the minor IV to the I.
 
Fun modulation from D to Db

I found this wonderful music by Max Steiner the other day (It was used as intro music in a film podcast)

Listen to the harmony from 48 seconds to 1.02. A modulation from D to Db
The last four chords are something along the lines of D, F#/D, C7, Db
Could have been Richard Strauss :)
 
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