Unit 6-2: Pivot Modulation

Objectives

By the end of this lesson, students will be able to:

Describe techniques artists use for smoothly modulating between keys using pivot-chord modulation.
Compare and contrast abrupt and pivot chord modulation and describe why an artist might choose to use one type of modulation over another.
Analyze examples from the repertoire to identify the type of modulation and compositional techniques used for modulating.
Write a chord progression that uses a pivot chord modulation or V of the new key.
Compose or adapt a section of a song to incorporate phrase modulation and reflect on the impact on the song's progression and emotion.

Preparation for Class

Read:

Pivot Modulation (Trevor de Clercq, The Practice of Popular Music, pp. 454–58) - Available online through the library
- - Alternate Open Source Reading: Modulations (Wilmoth, PopGrammar). Start with the section "Modulation using the V o fa New Key" and read to the end.
Extended Tonicization and Modulation to Closely-Related Keys (John Peterson, OMT)
- - Just read the section “Writing modulations with pivot chords”
Modulation (Naus, Berklee) - Study the jazz examples provided at the end.

Watch

Are Key Changes Making a ComeBack?
(David Bennett, 8 mins)

Reference Aids

Diatonic Common Chord Modulation Handout
Source: Toby Rush (Music Theory for Musicians and Normal People)

Closely-Related Keys
Closely-related keys are those within 1 sharp/flat of the original key. On the circle of 5ths, this is the relative major/minor and the major and minor key on the left and right on the circle.

A Circle of Fifths diagram is shown, with major keys in uppercase letters around the outer circle and their relative minor keys in lowercase letters inside, closer to the center. The diagram is organized clockwise in ascending fifths. Starting at the top and proceeding clockwise, the outer circle shows: C, G, D, A, E, B, F#, C#/Db, Ab, Eb, Bb, F. The inner circle shows the relative minor keys: a, e, b, f#, c#, eb/d#, bb/a#, f/g#, c/db, ab, eb, d. Each major key is accompanied by its corresponding major scale in standard musical notation. Each minor key is accompanied by its corresponding natural minor scale in standard musical notation. Numbers with flats and sharps are shown between the major and minor keys, representing the number of flats or sharps in each key's key signature.

In-Class Activities

Discussion

Pivot Chords: What is a pivot chord modulation? Analyze a few of the examples discussed in the reading by Betuw or from Bennett's videos. How do these artists pivot to the new key? How does this modulation compare in effect to a step or abrupt modulation? Why might an artist choose this modulation type over the other?
- - If you want to use a pivot chord to smoothly transition to a new key, how do you find which pivot chords are available to you? Discuss strategies for writing chord progressions that pivot between closely-related keys.

Activities

Modulation in "Uptown Girl": Analyze Billy Joel's use of modulation in "Uptown Girl" (from An Innocent Man, 1983). (Instructor Note: See a solution for this activity on the Instructor Companion site.)
- - Listen to the song and annotate your score while listening. Identify formal sections (e.g. V, C, B) and phrase structure (e.g. a, a', b). ( PDF, MuseScore )
  - Identify the chords using Roman numerals. There are several modulations. Identify each by type as an abrupt or pivot chord modulation. Show pivot chords in both keys using Roman numerals.
    - - Discuss strategies for identifying where each modulation occurs and how to determine the new key. What visual cues signal modulation? What aural cues are you listening for?
      - Do you see any familiar chord schemata?
  - How does Joel use modulation in "Uptown Girl" for expressive effect? Consider where each modulation occurs relative to the song form and phrase structure. Consider how each key relates to the original key and how that key relationship affects the way you hear the modulation. How does your analysis relate to the lyrics and overall narrative of the song?
  - For a review of melodic-harmonic relationships, take a closer look at the first phrase of verse 1 (mm. 5–8). Notate the bass note for each chord on a staff. Then, notate the primary melodic note(s) for each chord. What do you observe about the relationship between the melody and the bassline?

Online Practice Worksheets:
- - Practice Worksheet with Solutions: See "Day 1" only. (Hutchinson, Music Theory for the 21st Century Classroom)
  - Worksheet 1: ID closely-related keys and find pivots chords between given keys.
  - Worksheet 2 : Practice exercises for identifying closely-related keys, practice with pivot chords, and analysis. (Hutchinson, Music Theory for the 21st Century Classroom)
  - Worksheet 3: Identifying closely-related keys and relationships, finding pivot chords, partwriting, and harmonization (from Fundamentals, Function, and Form)
Chord Progression: Compose a chord progression that includes a pivot chord modulation to a closely-related key. Then, recompose the same progression to modulate to a different closely-related key.
Analysis: Analyze examples from the repertoire in the Anthology section below. Identify the type of modulation used, Roman numerals, and any chord schemata you recognize. Does the example modulate to a closely-related or distantly-related key? Where in the song does the modulation occur? What is the effect of the modulation?
Re-Composition: Select a song from the repertoire that doesn't currently incorporate a modulation. Discuss different ways that you might reharmonize the song to include a pivot chord modulation. Recompose the example and discuss how it changes your interpretation.

Repertoire for Practice

Modulation: Check out this section of the anthology for examples of direct/abrupt modulation and modulation with pivot chords.

Anthology: Modulation

Assignment

Assignment 7-2

NEXT STEP

Next Unit: Extended Harmony

Want to learn more?

Check out one of these videos or articles below:

Buchler, Michael. “Modulation as a Dramatic Agent in Frank Loesser’s Broadway Songs.” Music Theory Spectrum 30, no. 1 (2008): 35–60.
Doll, Christopher. "Rockin’out: expressive modulation in verse-chorus form." Music Theory Online 17, no. 3 (2011).
Hanenberg, Scott J. "Rock Modulation and Narrative." Music Theory Online 22, no. 2 (2016).

The Most Elegant Key Change in All of Pop Music
Adam Neely (27 mins)

Recognizing Modulation
Dr. Anna Gawboy (14 mins) Watch on Vimeo here

This provides a deeper dive into modulation from a "classical music" perspective.

Practice

Musition:
- Modulation: Level 4a

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