Nikolai Rimsky-Korsakov · sección 60 de 96

EMPLEO DE LA MODULACIÓN en la armonización de una melodía

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Traducción automática de la lectura en inglés. Borrador; aún sin revisión por un hablante nativo.

§ 57. — A veces una melodía dada define claramente la modulación mediante sus notas con alteraciones:

Example: a given melody whose accidentals (B♭, then G♯) clearly define the modulation. — Fig. 238 · Verlo en el lector

otras veces, por el contrario, requiere una modulación sin contener ninguna alteración, pero también puede armonizarse de otro modo:

a) Without modulation (C major throughout: I–ii6–V–I) — b) With modulation (C major to A minor: I–ii6–V of A minor–i). — Fig. 239 · Verlo en el lector

Al armonizar corales no se debe modular a la tonalidad menor de la subdominante en el modo mayor, ni a la tonalidad mayor de la dominante en el modo menor. Tampoco se emplea la modulación cromática en el estilo eclesiástico estricto. (*)

En los corales, el alumno prestará toda su atención a las cadencias, que deben identificarse primero y hacerse modulantes después, si hay ocasión para ello.

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