1

I was wondering if there is any harmonic reasoning and mechanism in play with the modulation from C major to Eb major in measure 103? The only "logic" that I can think of is that in previous measures (such as 97 and 101), we are temporarily in C minor which showed flashes of the Eb and Ab, notes found in the Eb major scale. Furthermore the melody that connects the end of 102 and 103 is only a half step rise (D to Eb) which makes the connection smoother, and that there is a shared note (G) between the Em/B chord in the second half of measure 102 and the C minor chord in 103. Is there a mechanism name to this modulation?

enter image description here

2
  • What piece is this from? Spirited Away has a fair few soundtrack themes in it.
    – Dekkadeci
    Feb 27, 2021 at 13:01
  • @Dekkadeci it's called "Name of Life", but transposed to C major. Here is the piece in the original key Db major musescore.com/user/4622501/scores/5038709
    – Kevin Sun
    Feb 27, 2021 at 15:47

1 Answer 1

2

A key shift up a minor 3rd is very pleasing. It doesn't really fit into functional 'cycle of 5ths' reasoning, but at least it's validated by having a special name, 'chromatic mediant'. And yes, when you feel one coming on, preparing the ear with a i, iv or ♭VII chord is often useful.

This tune also illustrates how a strong melodic line helps a modulation. Wherever that upward scale at the end of bar 102 ended could have made a good new tonic.

♭III contains the dominant note. ♭VI contains the tonic note. We can therefore use these 'pivot notes' to excuse them. ♭VII includes two diatonic notes, which allows it entry to the ballpark I think. But looking for functional reasons to use these chords is generally futile. ♭VII CAN act as IV of IV, but often doesn't.

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge that you have read and understand our privacy policy and code of conduct.

Not the answer you're looking for? Browse other questions tagged or ask your own question.