When two or more of these elements are combined, it creates what I call a “combination modulation.” Even though the listener hears these relationships over the course of only a few seconds as the key changes, such modulations initiate an emotional response. The diagram below shows the harmonic, melodic, and key relationships that are involved in a modulation. Regardless of the type of modulation used, it must be a carefully sculptured musical event that involves a series of harmonic and melodic choices that conform to the style and context of the music at hand. Many jazz tunes (especially those in the bebop style) modulate frequently, creating a potential harmonic obstacle course for the player. In many cases, musicians use a modulation at the chorus or bridge of a tune or as a segue between songs in a medley. Each modulation should be tailored to a particular musical situation. Further, when visual images accompany a modulation, the psychological or emotional effect can be even greater. Note that you can heighten the effect of a modulation if you change not only key but also tempo. No matter which technique you use to create a modulation, you need to ask three questions: (1) What is the desired effect? (2) What is the destination key? and (3) Which technique will get you there? For more information, visit In this article, I will confine the discussion to actual key changes and explore five techniques for modulating: direct, pivot-chord, melody driven, transitional, and combination modulations. He is the author of Beyond Functional Harmony published by Advance Music. Wayne Naus, a professional trumpet player, is a professor in the Harmony Department.
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