Chromaticism, Tonicization, and Modulation in Melody and Harmony
90 Pivots in Melodic Dictations
When you identify a modulating melody, the key to ascertaining harmonic movement is to look for a point in the melodic line that contains a pivot. This is a note, or collection of notes, that indicates a “turnaround” in the implied harmony towards the new key.
In many cases, you’ll be able to identify the new do by its ti. Wherever ti is found, do isn’t far away; therefore, the first note you’re likely to hear that is outside of the key signature is the ti of the new key.
In this example from Schubert’s “Heidenröslein,” the accidental in measure 6 indicates the shift to C major (the dominant). Fi – a chromaticism in the home key – indicates the new ti.
In this example from Luigi Boccherini’s famous Minuet, the D-sharp – fi in A major – similarly indicates ti in the new key, E major.
Things to take away from this: in diatonic melody, fi is not “normal.” If you hear fi in a dictation, this is a strong clue that you are now hearing ti in the new key – that the implied harmony is V/V or V7/V. Ti, of course, is “normal” – and tells you where your new do will be.
