Modulation And Related Harmonic Questions
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10 30 MODULATION 32.
CHOPIN: Etude, Op. 10, No. 12 - MODULATION 31 WAGNER: "DieWalkure" *-=*- :r , 9-0-- -0- -0- ^MfTJ 1 8: m m (HP 4^- V 7 1 -^- -fK_ J_ _^_ f|LJUL_|l^ ^ ^S IT- 8f * ^ =: v 36.
STOJOWSKI: Prelude, Op. 1, No. 2 ^^ A V 7 32 MODULATION 36.
WAGNER: "Lohengrin" ida^^tM^^ I]* . *| trfrW^fJTd )>'!! fe&frfcP^EZ ^j^ [_^ ^f^f^ F u 1 n 37.
V 7 ROSSINI: " Stabat Mater ' /r ^4 g =f- n ri tr 'V 7 gfc^ 38.
HENSCHEL: Song, "Resurrection" V 7 MODULATION 33 ^B v 7 The preceding shows successive ...chords of V 7, rising step by step; in the right place, as here, an effective progression, as well as one often helpful in modulation.
In the extract from Faur6 observe the voice-leading (36).
FAUBE: Impromptu, Op. 31 26. It is sometimes the case with the modulation by V or V 7 that the composer carries it not only to the new tonic, but beyond, to the dominant of that tonic, then turning back again definitely to the new tonic; or it may even happen that the progression is made to the dominant of the dominant of the first key, without an intermediate step.
What to read after Modulation And Related Harmonic Questions?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Foote to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
10 30 MODULATION 32.
CHOPIN: Etude, Op. 10, No. 12 - MODULATION 31 WAGNER: "DieWalkure" *-=*- :r , 9-0-- -0- -0- ^MfTJ 1 8: m m (HP 4^- V 7 1 -^- -fK_ J_ _^_ f|LJUL_|l^ ^ ^S IT- 8f * ^ =: v 36.
STOJOWSKI: Prelude, Op. 1, No. 2 ^^ A V 7 32 MODULATION 36.
WAGNER: "Lohengrin" ida^^tM^^ I]* . *| trfrW^fJTd )>'!! fe&frfcP^EZ ^j^ [_^ ^f^f^ F u 1 n 37.
V 7 ROSSINI: " Stabat Mater ' /r ^4 g =f- n ri tr 'V 7 gfc^ 38.
HENSCHEL: Song, "Resurrection" V 7 MODULATION 33 ^B v 7 The preceding shows successive ...chords of V 7, rising step by step; in the right place, as here, an effective progression, as well as one often helpful in modulation.
In the extract from Faur6 observe the voice-leading (36).
FAUBE: Impromptu, Op. 31 26. It is sometimes the case with the modulation by V or V 7 that the composer carries it not only to the new tonic, but beyond, to the dominant of that tonic, then turning back again definitely to the new tonic; or it may even happen that the progression is made to the dominant of the dominant of the first key, without an intermediate step.
What to read after Modulation And Related Harmonic Questions?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Foote to read onlineMoreLess
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