In analysis of a piece that uses this style of modulation, the common chord is labeled with its function in both the original and the destination keys, as it can be heard either way. The most common pivot chords are the predominant chords (ii and IV) in the new key. Bach-style chorale) are also not likely to be chosen as the pivot chord. Therefore, chords that are not generally found in the style of the piece (for example, major VII chords in a J. The I chord in G major-a G major chord-is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.Īny chord with the same root note and chord quality (major, minor, diminished) can be used as the pivot chord. This can be easily determined by a chart similar to the one below, which compares triad qualities. 284, III Play ⓘĬommon-chord modulation (also known as diatonic-pivot-chord modulation) moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share: "Most modulations are made smoother by using one or more chords that are common to both keys." For example, G major and D major have four triad chords in common: G major, B minor, D major and E minor. 10, Mazurka Play ⓘ Common-chord modulation in the opening of Mozart's Sonata in D Major, K. Play ⓘ Common-chord modulation in Tchaikovsky's Album pour enfants (1887), Op. Types Common-chord modulation Common-chord modulation in the opening of Chopin's Prelude in C minor, Op. For example, in a modulation to the dominant, ii/V–V/V–V could be a pivot chord, modulating dominant, and quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. The modulating dominant is the dominant of the quasi-tonic. The quasi-tonic is the tonic of the new key established by the modulation was semi.
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