Nikolai Rimsky-Korsakov · seção 60 de 96

O EMPREGO DA MODULAÇÃO na harmonização de uma melodia

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Tradução automática da leitura em inglês. Rascunho; ainda sem revisão por um falante nativo.

§ 57. — Uma melodia dada às vezes define claramente a modulação por suas notas com alterações:

Example: a given melody whose accidentals (B♭, then G♯) clearly define the modulation. — Fig. 238 · Ver no leitor

às vezes, ao contrário, pede modulação sem conter nenhuma alteração, mas também pode ser harmonizada de outra maneira:

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 · Ver no leitor

Na harmonização de corais, não se deve modular à tonalidade menor da subdominante no modo maior, nem à tonalidade maior da dominante no modo menor. Tampouco se emprega a modulação cromática no estilo eclesiástico estrito. (*)

Nos corais, o aluno dedicará toda a atenção às cadências, que devem primeiro ser identificadas e depois tornadas modulantes, se houver ocasião para isso.

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