J. Anthony Allen explains the difference between tonicization (a brief hint of a new key) and modulation (fully establishing one), then walks through pivot chords and secondary dominants to show how to spot where a modulation actually happens. He harmonizes a melody using these techniques and shows how modulation changes musical form.
Hey, everyone, and welcome to Music Theory Part 13. I've been doing it on my hands, like part four or five, but I don't have enough hands, I don't have enough fingers anymore to do all of the parts that we've done of music theory. So this is part 13. In this class, we're going to be talking about modulation and moron form. Now, we've talked about in the last few classes, especially the last one, but probably 10, 11, and 12, we've talked about tonicization. That's a term that should be familiar if you're following along with this whole class. And tonicization is a brief flirtation with changing keys, but not going all in. Modulation, however, is going all in and actually changing keys. And some of it uses the same techniques that we use to modulate, like, secondary dominance and things like that. And some of it uses some new techniques. So we are going to be talking about modulation in this class for about the first three quarters of it. And then for the last quarter, we're gonna revisit form and talk a little bit more about form, because when you add tonal centers into form, it becomes a little more complicated. And we're going to learn some new form ideas as well. So this has been a really fun class to make, as they all are. So I hope you decide to join us in music theory 13. And without further ado, let's just dive in right now. Here we go. Sa. Okay, G major is a common chord between the two. A minor is a common chord between the two. B is not, because in one it's diminished, and the other it's minor. So that doesn't work. But let's go over here. Okay, let's just keep right on going with F. And I should point out that when you're doing these analyses, this happens a lot where you do analysis. You might go all the way in F, and then you say, okay, wait, I missed the. The train derailed at some point. And then you walk backwards and find where the modulation actually happened. That's true in pivot chords, especially where you might say, okay, so what I thought we'd do next is this modulation challenge. This can be really tricky. It can be really fun. It can also be a super disaster. So we'll see how it goes. We might be deleting these videos after we make them, and you might never see them, but maybe, maybe it'll work. So what we're going to do here is we're going to take a popular melody and we're going to try to modulation it. We're going to try to harmonize it with a modulation in it where there wasn't one. Okay? So in a minor key, what we typically have that's different, and this isn't true 100% of the time. This is just mostly true. And the rules are this, but.
