How to Modulate: A Simple and Systematic Guide in Modulating from Any Key to Any Other and a Review of the Principles of Artistic Modulation as Applied in General Composition

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G. Schirmer, 1890 - Modulation - 66 pages
Discusses the political instability in the Caucasian states of Georgia, Armenia, and Azerbaijan.

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Page 62 - G is taken up again, and through it passage is made back to E minor, the original key, again. Thus the main centre of the principal key is supplemented by subordinate centres ; the different notes of the key being used as points of vantage from which a glance can be taken into foreign tonalities, to which they happen also to belong, without losing the sense of the principal key which lies in the background.
Page 62 - ... another; in other words, of the different degrees of musical effect produced by their juxtaposition. The bearings of the more simple of these relations were first established, and then those of the more remote and subtle ones, till the way through every note of the scale to its allied keys was found. In the meanwhile groups of chords belonging to foreign keys were subtly interwoven in the broader expanses of permanent keys, and the principle was recognised that different individual notes of a...
Page 18 - If there is a Minor Ninth in any chord , that Ninth will be the flattest note...
Page 4 - As Dominant harmony appears in the various forms of Triads, Seventh chords , Ninth chords (either Major or Minor) , Diminished Seventh chords and Diminished triads , Attendant chords may appear in the same forms, as illustrated in Fig.
Page 18 - •In every Fundamental chord , the leading note is the sharpest note to be found.
Page 44 - Therefore it is easy to pass from the key of C to the key of G, or to the key of F. (See Fig. 49). *) 58 , 60 and 62 are derived from Mr. HC Bannister's admirable "Text Book of Music".

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