For this next analysis, I will be looking at an extract of this upbeat song from the movie Sister Act, which I've watched many times. Within these 16 bars, the key changes from Bb maj to B maj to G maj, and I will attempt to show how these modulations take place.
I will discuss the second modulation that takes place from B maj to G maj first, because I think it is easier to explain this modulation than the previous one. Take note of the note 'B' in the melodic line in bars 14 and 15. This note is the pivot note that allows the music to modulate from B maj to G maj. Both the B maj chord and the G maj chord, tonic chords in their respective keys, contain the note 'B'. The ear retains the note 'B' in bar 14, which is then heard again in another harmony in bar 15. Therefore, the music seems to seamlessly modulate from one key to another, even though the keys of B maj and G maj are distantly related.
The earlier modulation that takes place is from Bb maj to B maj, a difference of just a semitone, yet it feels so natural and expected. I feel that the modulation is quite an unusual one as there are no common notes between the Bb maj scale and B maj scale. In this instance, modulation takes place with the introduction of a chord V in B maj at bar 5, which then leads to the tonic of B maj being established in bar 6.
I feel that the rest in bar 5 helps to bring out the bass note F# so that the dominant chord can be clearly outlined, in preparation for the tonic B maj in bar 6. The presence of the rest helps to "erase" all the sounds heard earlier so that the listener will get accustomed to the new key that is to be presented in the subsequent bars.
4 comments:
Hi Jean.,
I was just wondering how the modulation to G maj occurs? Because from your score, it looks like it's a C major with the 5 naturals, or perhaps the F# appeared as an accidental in the subsequent bars?
Oh and I thought this extract was quite a good example of how harmonic colours help make up for the less interesting melodic element (same motivic idea throughout).
By the way, did this piece continue in the same way until it gets to the home key? Seeing how it modulates using the same theme, it seems like it can continue forever... haha
jr
Hi JR!
Oops I made a mistake actually. The key changes from B maj to C maj! I must have been sleeping when I was doing this. Thanks for spotting it! :)
Nevertheless, the note 'B' is still the pivot note that connects and provides a smooth modulation from B maj to C maj. The 'B' note appears in the tonic chord of B maj and the dominant chord of C maj, a G maj chord. The presence of the G maj chord to C maj chord firmly establishes the key of C maj at b.16.
Oh, adding on, the key remains in C maj right to the end.
I think that the modulation adds to the excitement of the music. As you know in the movie, this song starts off with the nuns singing slowly and angelically, which is largely legato, in a sort of 4-part harmony manner.
This extract marks the start of the moderately fast rock section, where the nuns start to relax, have fun and sing in a more carefree manner. Besides a change in key, especially to a higer key, energy is also pumped in as the nuns start to go freestyle in their singing.
I'll try to put this song on my blog. Thanks Joyce for telling me how to put songs onto my blog!
Yes, the modulation is to C major eventually and common tone is used, but one should still recognize that the appearance of the G chord does indeed sound surprising.
Likewise, the move into B maj earlier. Note that the opening progression was I - vi. It would have been no surprise if this proceeds to V (i.e. F chord): the appearance of F# instead is most unexpected, the presence of a rest at beat two notwithstanding.
Speaking of common-tone modulation mentioned earlier, note the element of surprise when the G# at b. 10 was reharmonized by an E major chord two bars later.
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