Tonicization and Modulation

Review

Part I
 Beethoven, Piano Sonata, op. 14, no. 2, Andante

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 Tonicization:
A Compositional Technique that Introduces Chromatic Pitches
to form the Dominant of a Triad other than the Home Tonic
~so that~
The suggestion of a new Tonic is only temporary

Tonicization involves applied Dominant or leading-tone triads and

seventh-chords

Modulation:
A Compositional Technique that changes the key of music
~so that~
The new Tonic is more permanent and always confirmed by a
cadence!

The cadence confirming a modulation can be of any kind:

IAC, PAC, or HC
 Extended Tonicization:

~Sometimes~

Toncizations Last Longer than Two Chords

~i.e.~
longer than just a single applied dominant
and its temporary tonic

BUT:

These Extended Tonicizations still NEVER have a Cadence in

a New Key Area
1. Mozart, Piano Concerto in G Major, K. 453, i
Mozart, Piano Concerto, K. 453, i

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 How to Identify An Extended Tonicization?

-Notice the new dominant harmony suggesting a key area

other than the home tonic

-Look for a Cadence

-If there is no Cadence, and a new key area lasts for more than two
chords, then it is an Extended Tonicization

**NO CADENCE, NO MODULATION**

 4. Chopin Prelude in C minor, op. 28, no. 20:

Ex. 3. Chopin, Prelude, Op. Chopin,

28/20 Prelude, op. 28, no. 20

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 Tonicization and the Deceptive Progression:

-Tonicization often appears between the Dominant and the

Submediant in the Deceptive Progression
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 Tonicization and Deceptive Resolutions:

-Applied Dominants often Resolve as a Deceptive Progression in

the Tonicized Key Area

ii = vi of IV

d- is vi in the key of F+

This progression is V7 – vi in F+
 2
Beethoven, Piano Sonata, Op. 90, i
2. Beethoven, Piano Sonata in E minor, Op. 90, i

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3. Beethoven, Variations in C minor, woO 80, mm. 1–8, Theme.