Nikolai Rimsky-Korsakov · section 60 of 96

THE USE OF MODULATION in harmonizing a melody

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§ 57. — A given melody sometimes defines the modulation clearly through its notes bearing accidentals:

Example: a given melody whose accidentals (B♭, then G♯) clearly define the modulation. — Fig. 238 · See it in the reader

sometimes, on the contrary, it calls for modulation without containing any accidentals, but it can also be harmonized differently:

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 · See it in the reader

In harmonizing chorales one should not modulate to the minor key of the subdominant in the major mode, nor to the major key of the dominant in the minor mode. Nor is chromatic modulation used in the strict ecclesiastical style. (*)

In chorales the student will give his full attention to the cadences, which must first be identified and then made to modulate, if there is occasion to do so.