Klarinet Archive - Posting 000206.txt from 2001/06

From: Neil Leupold <leupold_1@-----.com>
Subj: RE: [kl] ....more about harmony
Date: Mon, 4 Jun 2001 15:13:13 -0400

--- Shouryunus Sarcasticii <jnohe@-----.Edu> wrote:

> I, vi, V/V, V, I.
>
> We have the tonic, then a submediant, and then we breifly modulate from C
> major to G major, and the D chord functions as a dominant of G, our
> temporary new tonal center. When the D, functioning as the dominant of G,
> resolves to that G, the G no longer functions as a new tonic, but now
> functions as the dominant of C, the original key. It's essentially a one
> and a half chord modulation.

Modulation requires appreciably lengthier harmonic activity than the
simple application of a dominant function to a given chord. What you've
described above doesn't even qualify as tonicization (not to be terse
about it), which is itself less involved than modulation. Secondary
dominants are a preparatory harmonic device, sometimes used merely to
extend the path to the true dominant of a key, sometimes used in more
complex sequences that can become part of a tonicization or modulation.

If I remember correctly, you're at the tail end of your undergraduate
degree Shouryu, so I'm certain you have all of this sorted out inside
your mind and understand it well. For Bil Wright's sake, I wanted to
point out that the terminology -- modulation, tonicization, etc. --
is subject to definitions which necessitate that certain conditions
be met before a harmonic progression can be given one of these names.
I would have to dig up my own old undergrad theory texts to get spe-
cific, but hopefully this prevents Bil from concluding that putting
a dominant chord in front of any other given chord qualifies by any
stretch of the musical imagination as a modulation.

Neil

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