Chapter 8: Composing a Soprano Voice and Harmonizing a Bass

This chapter doesn’t actually have a list of terms exercise at the end… It instead asks that I memorize certain procedures/tools for composing which I think would be tedious and unhelpful for me to try to replicate here.

Chapter 9: Modulatory Progression

Modulation: An extension beyond the harmonic unit controlled by the tonic triad. Forte argues that it should be “regarded as ordered harmonic extension, not as ‘change of key for the sake of variety,’ as some authors would have us believe” (275). The two types of modulation are diatonic and chromatic.

Quasi-Tonic: A triad which begins to function like a tonic.

Modulating Dominant: The dominant of the quasi-tonic. It serves to establish the quasi-tonic as the harmonic goal.

Pivot Chord: Acts as a transition between the tonic and the quasi-tonic. This triad, which is a part of the original harmonic unit, always acts as a dominant preparation for the modulating dominant.

Natural Modulation: A modulation in which the switch between keys requires little or no chromatic alterations. The only completely natural modulation is between relative keys.

Returning Progression: The harmonic journey back to the original key. The progression should effectively direct itself towards the V of the main tonality, or toward dominant preparation as the I or original tonic will follow naturally.

Modulating Sequence: The use of a sequence to rapidly change the tonal focus. The usage of a pivot chord and modulating dominant are maintained, but they are embedded in the sequence.

Modulatory Series: A succession of modulations.

Interlocking Modulations: Occurs when a modulatory phrase ends on the modulating dominant and the quasi-tonic which follows at the beginning of the next phrase is also a pivot chord in a new modulation.

Incomplete Modulation: A progression which implies a modulation, moving to the modulating dominant, before returning instead to the original tonic.