Page 2 of 2 FirstFirst 12
Results 16 to 17 of 17

Thread: The finest most fantastic modulations

  1. #16
    Senior Member beetzart's Avatar
    Join Date
    Dec 2009
    Post Thanks / Like


    Quote Originally Posted by DeepR View Post
    At the end of the 1st movement of Bruckner's 9th
    Starts at 25:49. Rising tension and dissonance with that chord at 26:56, then a rather surprising modulation(?) at 27:15 which leads to 27:21: an insanely epic moment of nearly grotesque proportions.
    Don't know if this is anything special from a theoretical perspective but it sounds awesome.
    Wow! Thank you so much for highlighting this. That passage gave me goosebumps and I'm nearly crying. What a powerful passage of music.
    I love Muzio Clementi's music.

  2. Likes DeepR liked this post
  3. #17
    Junior Member
    Join Date
    Dec 2017
    Interlochen, Michigan
    Post Thanks / Like


    Ravel Piano Concerto.

    I think the main function of this type of sudden modulation is this technique that is extremely satisfying and not well known:

    Take for example the key of C maj. When we have a V7 going to 1 the essential voice leading is the leading tone (b-c) and 7th (f-e). Now we can choose either one of these as the priority and voice it as such (probably in the melody). The process is the same no matter which we use. Say we use the leading tone. We would strongly emphasis the b-c line. However we can reinterpret the resolved note, C, as any scale degree of the next chord, not just the root of the tonic, thus allowing us to move virtually anywhere. The simplest and most common is a reinterpretation of C as the minor 3rd thus bring us to the chord of the relative minor (G7-a min). However we can expand this much further. Making it the major 3rd would seamlessly bring us into Ab. We can make in the maj 7 and bring us to Db. It can be reinterpreted to move almost anywhere and the same process works with the 7th resolving down. What matters is that the leading tone moves where we expect and the surround harmonies can move almost anywhere to create immense color.

    If you listen to lots of Ravel and particularly his piano concerto you will hear this technique employed very often. This is very much a french technique as many of the unexpected changes you hear in impressionistic music are a result of this simple tool.

    But anyway Ravel Piano concerto will make you cry (2nd movement especially). Have fun! Love!

Page 2 of 2 FirstFirst 12

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts