modulation

> pivot chords, "neutral regions", etc
>

I don't find these concepts helpful as a composer. when I was learning
tonal theory, I realized that the easiest way to think about modulation
(again, when composing an exercise, or what-not) was in 3 steps:

1) wander around in key #1, not worrying a bit about where you're
going ultimately.

2) Insert a dominant in key #2 (You can do this almost completely at
random in relation to #1, although one is taught to avoid cross-relations,
but they occur all over the literature, so they're not really a big
deal).

3) wander around in key #2, and confirm.

So basically, a passage in key #1, and then a passage in key #2. Butt
'em up together, and ta-da!! . . . . modulation.

Looking back on what you've written, you can analyze it and say "this was
a pivot chord" or a "pivot section", but that's much easier to do in
hindsight that using it as a "plan".

This is pretty much my own take on it. although i find it interesting that in the Radif in Iran are some what composed modulations that the performer improvises more on less before and after.
I have played with this idea a bit but have not carried it out very far but an interesting approach to things.
Modulation was to Ptolemy signified a crisis in life and in indonesia is used to mark the entrance of a new character. I find these too more parallel than not and if we are going to modulate, we might ask ourselves why we are doing so. On the other hand we are used to it , and despite the Genius of a Haydn, i find his symphonies hard to take for there lack of modulation to enough different places.
The diamond is the common tone modulations of the harmonic hexad ( or the subharmonic). The magic is that the one produces the other. The CPS is also a condensation of common tone modulations

Christopher Bailey wrote:

> >
>>pivot chords, "neutral regions", etc
>>
>> >>
>
>I don't find these concepts helpful as a composer. when I was learning >tonal theory, I realized that the easiest way to think about modulation >(again, when composing an exercise, or what-not) was in 3 steps:
>
>1) wander around in key #1, not worrying a bit about where you're >going ultimately.
>
>2) Insert a dominant in key #2 (You can do this almost completely at >random in relation to #1, although one is taught to avoid cross-relations, >but they occur all over the literature, so they're not really a big >deal).
>
>3) wander around in key #2, and confirm.
>
>
>
>So basically, a passage in key #1, and then a passage in key #2. Butt >'em up together, and ta-da!! . . . . modulation.
>
>Looking back on what you've written, you can analyze it and say "this was >a pivot chord" or a "pivot section", but that's much easier to do in >hindsight that using it as a "plan".
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

On Sunday 12 December 2004 12:45 pm, Kraig Grady wrote:

> despite the Genius of a Haydn, i find his symphonies hard to take for
> there lack of modulation to enough different places.

That's interesting that you think that. Lots of Haydn I've experienced I've
found to be quite daring (in terms of modulation) for its time.

If you have a response, let's continue over on metatuning.

Best,

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com