This week we covered harmonic modulation in class7, and the various ways it can be achieved. I was particularly interested in common chord modulation, as I love how the pivot can sound and the surprise it gives to the listener. The lesson caused me to consider one of my own songs and how I achieved modulation from the pre-chorus to the chorus.
https://www.dropbox.com/s/zfkleixvv8n5y4t/%25%20For%20Someone%20Else.m4a?dl=0
The song’s verse is in Db, and the pre-chorus starts likewise – but to arrive the chorus key of F#, I use the following progression:
Ebm – Ab – Ebm – B – Bm – F#
Ebm is the pivot chord – it’s the ii of Db but it becomes it’s enharmonic equivalent D#m as the vi of F# – I then move to the IV and iv of the new key before returning to the F# tonic to execute a minor plagal cadence as the chorus begins.
However, while it’s helpful to self-analyse, I also wanted to see an example of this technique as used by a master of their craft – so I looked at one of my favourite songs of all time and how it uses modulation to great effect:
Incredibly, the song’s verse, pre-chorus and chorus are all in different key areas – F, Ab, and Bb respectively. These modulations are all of the abrupt variety – giving that shocking feeling as they occur, but they also give the song momentum as the new key is higher than the one previous. The more I learn from analysing songs I love, the more I feel I’ll be able to give my own music the same effectiveness.
7 Habel, Robyn. “Harmonic Modulation”. Lecture presented at the course Song Writing and Performance 1B, University of Adelaide, September 2, 2019.
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