Modulation

Max Reger

• Publisher: Dover Publications
• Year: 2013
• ISBN:
  9780486319124
• Topic: Mezzi di comunicazione e arti performative
• Subtopic: Teoria e gusto musicale

`I consider him a genius,` remarked Arnold Schoenberg of the progressive early modernist Max Reger (1873–1916). In addition to his international renown as a teacher, conductor, and pianist, Reger wrote more than 1,000 works in virtually every musical genre. Many scholars and musicians credit him with emancipating dissonance to a level that assisted Schoenberg's development of serialism in the 1920s. Reger's influence extends to other 20th-century composers, including Béla Bártok, Alban Berg, Arthur Honegger, Paul Hindemith, and Sergei Prokofiev.
Modulation — the change from one key to another — is a subject of critical importance to performers and composers in their study of harmony. Reger wrote this concise guide to modulation while teaching composition at Leipzig Conservatory, and the work continues to provide valuable insights and instruction for musicians at all levels. This new edition features newly engraved musical examples.

Analysis of the Examples in Modulation

A. From C-major to:

1) G-major

2) D-major

1) G-major

Tonic C-major; use this C-major which is at the same time the sub-dominant of G-major. (Cadence!)

2) D-major

Tonic C-major; relative (e-minor) to the dominant (G-major) of C-major; use this e-minor (1st inversion), which is also relative to the sub-dominant (G-major) of D-major. (Cadence!)

3) A-major

4) E-major

3) A-major

Tonie C-major; relative (d-minor) to the sub-dominant (F-major) of C-major; use this d-minor, which is at the same time the minor sub-dominant of A-major. (Cadence!)

4) E-major

Tonic C-major; relative (a-minor) to the tonic of C-major; use this a-minor, which is at the same time the minor sub-dominant of E-major. (Cadence!)

5) B-major

6) F♯-major

5) B-major

Tonic C-major; relative (e-minor) to the dominant (G-major) of C-major; use this e-minor, which is also the minor sub-dominant in B-major. (Cadence!)

6) F♯-major

Tonic C-major; dominant G-major; the 1st inversion of which is used (the chord of the sixth, b d g), which is at the same time the chord of the Neapolitan sixth*) in F♯-major. (Cadence!)

7) C♯-major

8) G♯-major

7) C♯-major

Tonic C-major; relative (e-minor) to the dominant (G-major) of C-major; use this e-minor, which is also the minor sub-dominant of B-major; dominant (F♯-major) of B-major; use this F♯-major, which is at the same time sub-dominant in C♯-major. (Cadence!)

8) G♯-major

Tonic C-major; relative (d-minor) to the sub-dominant (F-major) of C-major; dominant (A-major) of d-minor; use the 1st inversion of this A-major (the chord of the sixth, c♯ e a), which is also the chord of the Neapolitan sixth in G♯-major. (Cadence!)

9) D♯-major

Tonic C-major; relative (d-minor) to the sub-dominant (F-major) of C-major; use this d-minor, which is at the same time sub-d...