# Pivot Chord Modulation



## Bevo

Perhaps someone can help me here. Just to clarify, I fully grasp the concept of pivot chord modulation (using a common chord between two keys, followed by the V(7) of the new key) but I guess the problem I'm running into has to do with the accompanying phrases over those progressions. Each time I try to write a modulatory transition section it just never seems to flow (for lack of a better word). I try writing an accompanying line to follow the chords, but every time it ends up sounding and feeling like it needs to go back to the original tonic. I suppose what I'm trying to do here is use sequential modulation, but it always either sounds like the progression should be extended back to the original Tonic, or else, if I'm trying to modulate to the dominant, it ends on a half-cadence. This is something I've been struggling with for years, and being someone who like writing in traditional forms (sonata-form, rondo, etc...) it is very frustrating. So Any suggestions or help are much appreciated. Thanks.


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## Bettina

V7 of the new key isn't enough to fully erase the sense of the original tonic. You probably need to use the V7 of V in the new key at some point, preferably early on in the modulation. This helps to reinforce the new key, by leaving the original tonic far behind.


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## Bettina

Also, try using some chords from the parallel minor of the new key. For example, if you're modulating from C Major to G Major, you could throw a few G Minor chords in there. This would help the new key sound like a tonic rather than a dominant, because a minor chord can't really sound like a dominant. It's a cool trick that I've often heard in many sonatas by Mozart. You can hear it at around 35 seconds into this video:


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## Bevo

Bettina said:


> V7 of the new key isn't enough to fully erase the sense of the original tonic. You probably need to use the V7 of V in the new key at some point, preferably early on in the modulation. This helps to reinforce the new key, by leaving the original tonic far behind.


I understand what you're saying, and I actually have used a similar tactic a little in past. But what then would be an actual modulation example (in terms of chord progressions) then that you would use, if you don't mind my asking?


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## Bettina

Bevo said:


> I understand what you're saying, and I actually have used a similar tactic a little in past. But what then would be an actual modulation example (in terms of chord progressions) then that you would use, if you don't mind my asking?


I'm not a composer, so I actually wouldn't use anything!! :lol: I analyze music...I don't write it! Here's an example from Mozart: in the first movement of K. 333, there's a modulation from B-flat Major to F Major. In the course of this modulation, Mozart touches on a G7 chord in bar 17. This is V of V in the new key of F Major. It occurs at around 32 seconds in this video:


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## Bevo

Bettina said:


> I'm not a composer, so I actually wouldn't use anything!! :lol: I analyze music...I don't write it! Here's an example from Mozart: in the first movement of K. 333, there's a modulation from B-flat Major to F Major. In the course of this modulation, Mozart touches on a G7 chord in bar 17. This is V of V in the new key of F Major. It occurs at around 32 seconds in this video:


I guess the thing that's now throwing me off is figuring out how to fit in the pivot chord by doing this process, because the V7/V in the new key, if it's the dominant that is, is the VI7 in the original key. Doesn't this eliminate the vi chord as being a pivot chord then? So how do you fit a pivot chord in, because I'm playing around with this technique and it doesn't really sound like this requires one? (Thanks for all your help by the way)


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## Bettina

Bevo said:


> I guess the thing that's now throwing me off is figuring out how to fit in the pivot chord by doing this process, because the V7/V in the new key, if it's the dominant that is, is the VI7 in the original key. Doesn't this eliminate the vi chord as being a pivot chord then? So how do you fit a pivot chord in, because I'm playing around with this technique and it doesn't really sound like this requires one? (Thanks for all your help by the way)


You can use the vi chord as a pivot and then switch immediately to VI7. That's what Mozart does in bar 17: the first half of the bar is vi and the second half is VI7 (I'm labeling these in the original key of B-flat Major) - in other words, he raises the B-flat to a B-natural to get from the pivot chord to the secondary dominant.

I hope that some of these suggestions are useful - as I said, I'm not a composer but I love to study what the composers do! Modulation techniques are a fascinating topic.


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## millionrainbows

Do like Wagner did, and you can wander all over the place. Use diminished sevenths. If you lower one of the notes, you get a dominant seven, four of them. Example, C-Eb-Gb-Bbb. Lower the C to B and it's B7 (B-D#-F#-A), lower the Eb and it's D7 (C-D-F#-A), lower the Gb and it's F7 (C-Eb-F-A), and lower the Bbb and it's Ab7 (Ab-C-Eb-Gb).

Likewise, dim7s can be turned into 7(b9) chords, a la Beethoven, by placing a new root under it: C-Eb-Gb-Bbb becomes D7(b9), F7(b9), Ab7(b9), or B7(b9), depending on what root you put under it.


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## Rowy

The pivot chord does not have to be followed by V of the new key, but you will need a complete cadence, like for instance IV-V-I, to establish the new key.


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## millionrainbows

In C major, go to D7 and be sure to include an F# note in the melody. It's the leading tone to G, the new key. Seems very simple to me, I hear it done all the time.


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## Sekhar

I think the trick is in the melody, not just the progression. In my experience, it's hard to get rid of the old tonic without help from the melody, regardless of what we do with the progression.

I was actually composing yesterday for a fall class audition, and used this method if you want to check out. It's a simple sonata form, and you will see this method clearly in the first transition, for example. BTW, I'd appreciate any feedback you can give on my composition!


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