Harmony, its theory and practice . C, with which the student is not yet acquainted, and at thelast chord of the bar, the music modulates to A minor. 292. The general rule for modulating to a nearly related keywhich may be gathered from the examination of the extracts wehave given is, that the modulation may be effected either byimmediately altering one of the notes of the key we are leavingby means of an accidental, as in Exs. 206, 208, or by taking achord common to both keys, and leaving it as a constituent ofthe new key, as in Exs. 207, 209, 210, 211, 212. All nearlyrelated keys contain at l
Harmony, its theory and practice . C, with which the student is not yet acquainted, and at thelast chord of the bar, the music modulates to A minor. 292. The general rule for modulating to a nearly related keywhich may be gathered from the examination of the extracts wehave given is, that the modulation may be effected either byimmediately altering one of the notes of the key we are leavingby means of an accidental, as in Exs. 206, 208, or by taking achord common to both keys, and leaving it as a constituent ofthe new key, as in Exs. 207, 209, 210, 211, 212. All nearlyrelated keys contain at least one chord in common. 293. Another method of modulating consists of irregularlyresolving the chord of the dominant seventh by making its thirdrise a tone, or fall a semitone or a tone, or its seventh rise asemitone. An example of each procedure will make this clear. Ex. , =fc=? 5=(c: =]s= ^ Handel. Hercules. Tf-ZT-Jp 3 S S fe ^^^ \^i. ^ ^ J -? ^ ^) %\!^^J^ f-i ^ —?—?—?—=- ^ T^ * . ^-P ^ _o s Bp _ p [I. At * the third of the dominant seventh in G falls a chromaticsemitone to the seventh of the dominant seventh in the subdom-inant key, which is followed by the tonic chord, to establish thekey. The irregular progression of the bass in the last twochords was spoken of in the last chapter (§ 268). Chap. IX.] MODULA TION. 123 Schumann. Humoreske, Op. 20.
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