Question 20 of 50

What is the three-step procedure for analyzing modulations, as outlined in the section on Altered Chords as Common Chords?

In the context of analyzing modulations, what is the 'point of modulation'?

In Example 19-1, which shows a modulation from G major to D major, which chord serves as the common chord?

When a secondary function like V(7) or vii(7) is used as a common chord in a modulation, what is its role?

What is the primary characteristic of a sequential modulation?

In Schubert's 'Five Piano Pieces' (Example 19-2), what is the interval of transposition in the sequential modulation?

According to the analysis of Example 19-2, the d minor tonic chord (d:i) in the second phrase could also have functioned as which diatonic chord in the original key of C major?

What type of sequential motion is demonstrated in Beethoven's Piano Sonata op. 53 (Example 19-3)?

What common pattern, other than stepwise motion, is often used for sequential modulation?

What is the defining characteristic of a modulating sequence as opposed to a diatonic sequence?

What serves as the 'hinge' between two keys in a modulation by common tone?

How does the effect of a common-tone modulation typically differ from that of a common-chord modulation?

In Mozart's Fantasia K. 475 (Example 19-5), which note serves as the common tone linking the keys of b minor and D major?

In Beethoven's Symphony no. 4 (Example 19-6), which single note links the V chord in d minor with the V7 chord in B flat major?

The two chords linked by a common tone in a common-tone modulation usually exhibit what type of relationship?

What are the two defining characteristics of a chromatic mediant relationship?

In Brahms's Symphony no. 4 (Example 19-9), a modulation occurs between which two keys that are in a chromatic mediant relationship?

In Example 19-9, after the initial melody emphasizes the notes of a C major triad, which single note is isolated before it becomes the tonic of E major?

What is a monophonic modulation?

What is a direct modulation?

When a direct modulation occurs between phrases, what is it often called?

In the Bach chorale excerpt (Example 19-11), which is given as an example of phrase modulation, the key shifts between which two tonalities?

The text suggests that the phrase modulation in Example 19-11 could also be analyzed differently. What is the single common tone between the V chord in g minor (D-F#-A) and the I chord in B flat major (Bb-D-F)?

In the simplified analysis of Mozart's Fantasia K. 475 (Example 19-12), the fleeting tonicizations of which two keys would be considered direct modulations?

Which type of modulation involves the transposition of a musical pattern to a new pitch level to establish a new key?

What is the term for a modulation that is carried out by a single, unharmonized vocal or instrumental line?

A modulation where a single tone serves as the link between the two keys is called what?

What two types of modulation are discussed in the chapter in addition to sequential and common-tone modulation?

In the excerpt from Schubert's 'Im Gegenwartigen Vergangenes' (Self-Test 19-1, no. 2), which modulates from D flat major to A major, what is the primary modulatory technique employed?

Are the keys of D flat major and A major, as found in Self-Test 19-1, no. 2, in a chromatic mediant relationship?

In the Schubert excerpt 'Der Wegweiser' (Self-Test 19-1, no. 3), what is the key of measures 13 to 16?

In the excerpt from 'Der Wegweiser' (Self-Test 19-1, no. 3), the return to the home key of g minor from C flat major at the end of measure 16 is best described as what kind of modulation?

In the excerpt from Mozart's Symphony no. 41 (Self-Test 19-1, no. 4), what are the two keys established?

How is the modulation in Mozart's Symphony no. 41 (Self-Test 19-1, no. 4) accomplished, and what is the relationship between the two keys?

An altered chord, such as a secondary dominant, can serve what role in a modulation?

In the theoretical modulation from G major to D major discussed in the section 'Altered Chords as Common Chords,' which chord is identified as the common chord that cannot be the Am triad?

What is the required interval between the roots of two chords in a chromatic mediant relationship?

What is the requirement for the qualities of two triads in a chromatic mediant relationship?

Which type of modulation is described as being 'often reserved for especially dramatic spots in a composition' and can involve the enharmonic reinterpretation of a common chord?

Why might a composer prefer to label a modulation as a 'phrase modulation' even if a common-tone or common-chord analysis is also possible, as in Example 19-11?

What does the text suggest should be done before labeling a modulation that occurs within a phrase as a 'direct modulation'?

In the summary of the modulatory passage in Example 19-12, the final goal key of the passage is identified as what?

What is the function of the iii6 chord in the analysis of Example 19-12?

The text states that in a common-tone modulation, the common tone is often isolated. In Beethoven's Symphony no. 4 (Example 19-6), what dynamics are used to emphasize this isolation and dramatic shift?

What is the relationship between the keys of b minor and D major, which are linked by a common-tone modulation in Example 19-5?

What does the text say about the common chord in a sequential modulation?

In the analysis of Beethoven's Symphony no. 4 (Example 19-6), the modulation is between the V of d minor and the V7 of what key?

The section 'Modulation by Common Tone' mentions that the chromatic mediant relationship makes it easy to modulate to what kind of keys?

According to the summary in Chapter 19, what is the term for a modulation that uses no common chords or common tones?