Lesson 17: Common Modulations

(Chapters 22ff.)
To modulate, (1) establish the tonic key, (2) link the two keys, and (3) establish the destination key. From Lessons 9 A, 12 C (1), and 12 C (2) choose a progression to establish the
tonic as well as the destination key.
Example 1: Modulate from I to V; I becomes IV in the key of V.
(1) Lesson 9 A in the key of I

ii6

I (C): I

_____

V 64 _____

5
3

I
V (G): IV

(2) Link

V7

(3) Lesson 9 A in the key of V

ii6

8 _______ 7
V 64 _______ 53
_______

Example 2: Modulate from i to III; i becomes vi in the key of III.

(1) Lesson 12 C (1) in the key of i

i (d): i

VI

iiO 65

V
i
III (F): vi

(2) Link

(3) Lesson 12 C (1) in the key of III

vi

ii 65

Now modulate from I to V or from i to III, beginning in each of the following tonic keys:
F, G, D, C, and A.

Lesson 18: Modal Mixture (Chapters 25ff.)

Modal mixture typically occurs in major-key music when chords are borrowed from the
6,
and 7.
In minor-key music,
parallel minor. Listen and look for modal scale degrees 3,
the most common form of mixture changes the quality of the final tonic from minor to
but instead hear mi (3).

major with a Picardy third; you expect to hear me (3),

Each exercise below is a variation of a previous lesson. Because the voice-leading,
grids, and strategies are conceptually identical to what you have already learned, you can
add these borrowed chords to your tonal palette quickly and accurately.
A. Borrowed predominant chords
(1) Return to Lesson 9 A, and perform each progression. In chord 2, substitute
for la (6)
to create borrowed chords iv or iio6.
le ( 6)
(2) Return to Lesson 12 A and B, and perform each progression. In chord 2, substi for la (6)
to create a borrowed predominant chord.
tute le ( 6)

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