Modulation

Definition and stakes

Edwin Gordon Lawrence,  How to Master the Spoken Word

“ Modulation, in a broad sense, is coloring the voice so as to make it explain by its tones the meaning of the spoken words. It consists principally of inflection and pitch, but the elements of emphasis also enter into it. By means of modulation action is given to the voice—it rises, it falls, it glides, it leaps, it bounds; all sounds are described—the moaning of the winds, the rush of waters, the tramp of marching armies; all emotions are expressed—the shout of joy, the cry of pain, the huzzah of victory. ”
Source: Gutenberg

Portrait of Ebenezer Prout Ebenezer Prout,  Fugue (1891)

“ It will be seen that in all these passages the mental impression of the last notes is unmistakably that of a modulation to the dominant; and it may be stated as a general rule that, whenever a subject ends with the descent from the submediant to the dominant of the tonic key, a modulation is implied, and these two notes are considered to be the supertonic and tonic of the dominant key.
120. Sometimes the great composers choose to consider a modulation as implied when there is no absolute necessity for it—
J. S. Bach.
”
Source: Wikisource

Portrait of Ebenezer Prout Ebenezer Prout,  Fugue (1891)

“ II. A real answer is possible for any subject which begins and ends in the key of the tonic without modulating to the dominant; but if the subject begins with a leap between tonic and dominant or commences on the dominant, a tonal answer is mostly preferable.
III. If the subject modulate between the keys of the tonic and dominant, the answer should make the converse modulations between dominant and tonic.
IV. A modulation should always be made as early as possible.
”
Source: Wikisource

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