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Examples
Using Roman numeral chord analysis, a
chord labeled "V/ii" (colloquially referred to
as "five of two") would refer to the V chord
of a different key; specifically, a key named
after the ii chord of the original tonic. This
would usually resolve to the ii chord (of the
original key). In this situation, the ii has
been tonicized.
Modulation
In a song in C major, if a composer treats
another key as the tonic (for example, the
ii chord, D minor) for a short period by
alternating between A7 (the notes A, C#, E
and G) and D minor, and then returns to
the tonic (C Major), this is a tonicization of
the key of D minor. However, if a song in C
major shifts to the key of D minor and
stays in this second, new key for a
significant period, then this is usually
considered to be a modulation to the new
key (in this case, from C major to D minor).
In effect, D minor has become the new key
of the song.
See also
Secondary leading-tone chord
Sources
1. Bruce Benward and Marilyn Nadine Saker
(2003). Music: In Theory and Practice, Vol.
I, seventh edition (Boston: McGraw-Hill),
p. 270. ISBN 978-0-07-294262-0.
2. Bartlette, Christopher, and Steven G.
Laitz (2010). Graduate Review of Tonal
Theory. New York: Oxford University Press,
pg 137. ISBN 978-0-19-537698-2
3. Kostka, Stefan and Dorothy Payne
(2003). Tonal Harmony, p.289. "The line
between modulation and tonicization...is
not clearly defined in tonal music, nor is it
meant to be." ISBN 0-07-285260-7.
4. Gauldin, Robert (1997). Harmonic
Practice in Tonal Music New York: W.W.
Norton & Company, pg 366. ISBN 0-393-
97666-1
5. Benward & Saker (2003), p.272.
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