1. Melodic, Harmonic, and Rhythmic Dictation
  2. Module 11: Modulation

Module 11: Modulation

Modulation is the change of tonal centers within a composition. Modulation can occur between any two keys, and consists of using chromaticism to transform the pitch content of the original key into that of the destination key. This chromaticism causes the locations of the half steps, which define one’s sense of tonal center, to point toward a different pitch as the tonic. The fewer pitches that are altered, the more closely related the keys are. The more pitches that are altered, the more distantly related the keys are. If these changes are temporary or fleeting and the listener retains the sense of the original tonal center, then a tonicization rather than a modulation has occurred. If, however, these changes persist or are confirmed with a convincing cadence, then a modulation has occurred.

a. Techniques for Modulation

This section has not been built yet and will be launched in 2022.

b. Modulation Between Relative Keys

This section has not been built yet and will be launched in 2022.

c. Modulation to the Dominant

This section has not been built yet and will be launched in 2022.

d. Modulation to Other Closely Related Keys

This section has not been built yet and will be launched in 2022.

e. Modulation to Distantly Related Keys

Melody 11-e1

  1. Listen to the following pitch pattern.
  2. Listen to the pitch pattern again. Determine the number of pitches.
    3. 10
  3. The pitch pattern is begins in the key of F major. The first pitch is fourth line F in the bass clef. Listen and notate the pitch pattern.
    4. Melody_11-e1a

Melody 11-e2

  1. Listen to the following melody.
  2. Name the time signature.
    3. 4/4
  3. Listen to the melody again. Determine the number of measures.
    4. 7
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_11-e2b
  5. The melody begins in D major. Determine the clef and starting pitch.
    6. Treble clef, D fourth line
  6. Listen again. Notate the melody.
    7. Melody_11-e2a

Melody 11-e3

  1. Listen to the following melody.
  2. Name the time signature.
    3. 6/8
  3. Listen to the melody again. Determine the number of measures.
    4. 13
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_11-e3b
  5. The melody begins in A minor. Determine the clef and starting pitch.
    6. Bass clef, A first space
  6. Listen again. Notate the melody.
    7. Melody_11-e3a

Melody 11-e4

  1. Listen to the following melody.
  2. Name the time signature.
    3. 3/4
  3. Listen to the melody again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_11-e4b
  5. The melody begins in G minor. Determine the clef and starting pitch.
    6. Bass clef, D above the staff
  6. Listen again. Notate the melody.
    7. Melody_11-e4a

Melody 11-e5

  1. Listen to the following melody.
  2. Name the time signature.
    3. 2/4
  3. Listen to the melody again. Determine the number of measures.
    4. 16
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_11-e5b
  5. The melody begins in E minor. Determine the clef and starting pitch.
    6. Treble clef, E first line
  6. Listen again. Notate the melody.
    7. Melody_11-e5a

Harmonic Progression 11e-1

  1. Listen to the following rhythm.
  2. The progression begins in the key of C major and consists of 10 chords. Listen to the progression, then write the soprano line, the bass line, and provide a Roman numeral analysis.
    3. Harmonic_11e-1

Harmonic Progression 11e-2

  1. Listen to the following rhythm.
  2. The progression begins in the key of G major and consists of 7 chords. Listen to the progression, then write the soprano line, the bass line, and provide a Roman numeral analysis.
    3. Harmonic_11e-2

Harmonic Progression 11e-3

  1. Listen to the following rhythm.
  2. The progression begins in the key of a minor and consists of 8 chords. Listen to the progression, then write the soprano line, the bass line, and provide a Roman numeral analysis.
    3. Harmonic_11e-3

Harmonic Progression 11e-4

  1. Listen to the following rhythm.
  2. The progression begins in the key of g minor and consists of 7 chords. Listen to the progression, then write the soprano line, the bass line, and provide a Roman numeral analysis.
    3. Harmonic_11e-4
  1. Begin by taking a rhythmic dictation of your melody (see steps above). Figure out where things happen before you try to figure out what happens.
  2. Listen for and identify the tonic. If the melody modulates, listen for indications of each tonal area (usually you can listen for dominant sounds).
  3. Identify important scale degrees along the way by writing their numbers above the notes on your rhythmic dictation. Mark chromatic notes. These may include longer notes, notes on cadences, the first note, the last note, etc. Be sure to listen to pitches as scale degrees, using your scale degree patterns to verify what you think you hear.
  4. Listen for how the “important” scale degrees (from step 3 above) are approached and left. Listen also for groups of notes that form identifiable structures such as triads, seventh chords, etc.
  5. Once you have labeled your rhythm with scale degrees, transcribe this into standard notation on a staff.
  6. Double check your answer by singing what you have written and comparing it to what you remember.
  1. Begin by taking a rhythmic dictation for the melody as described above.
  2. Listen for repeating pitches or pitches that are close to known pitches, even if (especially if) they are separated by only a few pitches. Listen for embedded chromatic lines in the melody.
  3. Listen for characteristic intervals. For example, many melodies will use a particular interval repeatedly. Try to find all instances of that interval wherever it occurs.