After studying some of the theory surrounding performing smooth-sounding modulations between keys in an effort to make more interesting compositions, I have come to understand that the circle of fifths can be employed to find "neighbor" keys who share several notes and therefore are good candidates to modulate to.
What I'm having trouble with is how one would modulate to the more extreme distances in the circle, say the direct opposite (read as a clock face). Take for example this song:
What I'm hearing here (corrections welcome!):
- The initial riff is in B minor, with some notes borrowed from Dorian B at the end ("This is how a legend is born" until "a beauty I'll guard until the end of time.") 0:09
- Modulates to the relative major, Dmaj, ("Rain melts down from the stars...") 0:31
- The big key change, G#maj ("At a glance we both were falling...") 0:56
- Bridge back into B, this time borrowing Phyrgian? 1:25
- Dm later on after second chorus ("Cantisti sonta dia...") 2:45
What are the techniques employed here in order to make this sound coherent? A few things I can try to pick out:
- The limited usage of the tonic in the melody in the second section
- The open break (direct modulation?) before G#maj section
- I am guessing some of the borrowed modal notes help but can't understand why.
Are there names for what's being employed here? Usage of a specific bridge note? Is there some theory that could explain how this sounds so seamless?