113 Sight Singing Instructions

Extreme Chromaticism, Distant Modulation

• The asterisk always indicates the spot where you should switch your solfege to that of the new key.

• This week’s modulations go to very distant keys. To bridge the gap between the two key centers, we must isolate the pivotal pitch they have in common. Sometimes, as in the example from Beethoven’s Symphony No. 5, the pitch is enharmonically respelled. In other words, you have to pivot very quickly as you transition from one key to another!

• Be prepared to sing either line of the duet. This Haydn excerpt comes from a string quartet, so the two parts have been “consolidated” from four. Notice how abruptly Haydn shifts from G major to A major and back again. Looking out for tones from the dominant triad and dominant seventh chord of the new key is crucial to success. Even in an abrupt shift, Haydn still prepares his harmony by means of a dominant-tonic progression.