Connect and share knowledge within a single location that is structured and easy to search. I've always regarded a key change as the use of a completely different set of notes for the following music - definitely in a different key. Was in C, now is in C , with no reason to suppose a return.
I think your intuition is mostly correct when it comes to modulation. I would make only one small adjustment: most scholarship tends to view a change in tonic as different from a change in mode. In other words, moving from C to G is a modulation because we change the tonic pitch, but moving from C major to C minor is "just" a change in mode. Thus we see that "using new pitches" isn't enough to effect a modulation, it's actually changing tonic.
By this logic, one could say that changing from C Ionian to E Phrygian is a modulation, even though there are no new pitches. As you've suggested, modulations—especially in music of the common-practice period—tend to return to their home key. A key change can be one of two things. It can either be a physical spot in the score—the key signature changes here from C major to E minor—or a moment when the music leaves one key and moves to another one either with or without an explicit key signature change.
I think it's often a bit like the square vs. You'll notice that "key change" in this latter sense moving to another key is thus synonymous with "modulation.
Tonicization is often taught as a brief foray into another key. There's usually some gray area here in terms of how long a tonicization must be before it becomes a modulation, and it's only made worse when we discuss notions of "extended tonicizations. Once we use this cadential rule as a limiter, it becomes much more clear when something merely tonicizes and when it actually modulates.
Lastly, all of these are further confused when you read past theory treatises. Many authors of yore use "modulation" the way we currently use "tonicization," which certainly doesn't help at all. Richard's answer is correct. Current usage is that "modulation" and "key change" are identical. Looking at some of the earlier harmony texts s to early s , the term modulation was also used for these short sequences.
Some texts seem to indicate a short melody as changing keys with every chord change. The earlier usage would have analyzed it as a sequence of keys: A-D-G-C with the "tonic" elided.
A "modulation" or "key change" in my opinion a key change should be "longer" or weightier with perhaps a ii-V-I or the like in the new key.
A bit of terminology: "modulation" in radio and other fields means adding small changes to a main signal. I think I read somewhere that in the fifteenth or sixteenth century, modulation was used in this manner. A few months ago, an adult guitar student asked me about a concept called modulation. In different fields, the word can have more direct meanings, and this is certainly true in music. There really are two definitions of modulate in music: one that means to change key, and another that means to vary the volume of sound emitted from some source.
When we are talking about a song, modulation means to change key. This can come into play in a variety of scenarios. The lead singer has to strain his or her voice to hit the high notes, so the group decides to change the key of the entire song to make things easier.
Commonly, songs can use two keys: the main key, and then a modulation to a key that is a 5th apart. For instance, starting a song in C major but having a section that goes to G major G is the 5 chord in the key of C and then returning to C at the end.
When you add sevenths you end up with the four note chords, G major seventh, A minor seventh, B minor seventh, C major seventh, D dominant seventh, E minor seventh, and F minor seventh flat five. The main reason is due to the stretch that all three fingers need to make. Most chord shapes you have tackled up to now will span two frets, whilst the C major chord spans 3. G Em He wraps Himself in light, and darkness tries to hide. What are the chords in the key of G minor? Chords in natural minor keys follow the pattern, minor diminished major minor minor major major.
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