II - La modulation
II.2 - Les modulations aux tons proches
II.2.1 - La modulation du mode majeur à la quinte
Gamme de départ (Gd).
Gamme d'arrivée (Ga).
En modulant du majeur à sa quinte, on introduit une altération :
- Le degré Gd.IV s'éléve en Gd.#IV soit Ga.VII, F ➜ F#.
Dans la gamme d'arrivée on conserve la sensible de la gamme de départ : Gd.VII est Ga.III.
La nouvelle sensible est une note étrangère à la gamme de départ Gd.#IV.
Il y a quatre accords en commun :
| Accord | Gamme
de départ | Gamme
d'arrivée |
| G | V | I |
| Am | VI | II |
| C | I | IV |
| Em | III | VI |
Le nouvel accord de dominante est D7 soit Gd.II7.
La modulation met est jeu deux tritons tonaux, pour mieux les identifier on les colorise :
- En C le triton F-B,
la quarte est en orange et la sensible est en rouge.
- En G le triton C-F#,
la quarte est en bleu et la sensible est en vert.
Q:1/1=40
K:C
%%player_no_voice
%%score (1 2)
[V:1] "en C"!red!!r>(!B | !r>)!c || !orange!!o>(!F | !o>)!E || "en G"!green!!g>(!^F | !g>)!G || !blue!!b>(!c | !red!!b>)!B |]
[V:2] !orange!!o>(!F | !o>)!E || !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, || !green!!g>(!^F | !g>)!G |]
Réalisations de la modulation
Avec départ sur V7
L'accord C terminant la phrase dans la tonalité de C majeur est un accord pivot. Il a une fonctionalité double.
On l'entend donc comme tonique en C et comme sous-dominante en G.
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "D7"x | "G"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "V7"x | "I"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || D | D | !blue!!b>(!C | !red!!b>)!B, |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, | !green!!g>(!^F, | !g>)!G, |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | D, | D, |]
[V:B] C, | F, | G,, | C, || D, | G,, | D,, | G,, |]
Avec départ sur V7/3
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "D7/F#"x | "G"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "V7/3"x | "I"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || D | D | D | D |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, | !blue!!b>(!C | !red!!b>)!B, |]
[V:T] G, | A, | G, | G, || A, | G, | !green!!g>(!^F, | !g>)!G, |]
[V:B] C, | F, | G,, | C, || !green!!g>(!^F,, | !g>)!G,, | D, | G,, |]
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "F"x | "G7"x | "C"x | "Am"x || "D7/F#"x | "G"x | "D7"x | "G"x |]
[V:D] "IV"x | "V7"x | "I"x | "VI"x || "V7/3"x | "I"x | "V7"x | "I"x |]
[V:S] F | !orange!!o>(!F | !o>)!E | E || D | D | D | D |]
[V:A] C | !red!!r>(!B, | !r>)!C | C || !blue!!b>(!C | !red!!b>)!B, | !blue!!b>(!C | !red!!b>)!B, |]
[V:T] A, | G, | G, | A, || A, | G, | !green!!g>(!^F, | !g>)!G, |]
[V:B] F, | G,, | C, | A,, || !green!!g>(!^F,, | !g>)!G,, | D, | G,, |]
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "G7"x | "C"x | "G7"x | "Am"x || "D7/F#"x | "G"x | "D7"x | "G"x |]
[V:D] "V7"x | "I"x | "V7"x | "VI"x || "V7/3"x | "I"x | "V7"x | "I"x |]
[V:S] !orange!!o>(!F | !o>)!E | !orange!F | E || D | D | D | D |]
[V:A] !red!!r>(!B, | !r>)!C | !red!B, | C || !blue!!b>(!C | !red!!b>)!B, | !blue!!b>(!C | !red!!b>)!B, |]
[V:T] G, | G, | G, | A, || A, | G, | !green!!g>(!^F, | !g>)!G, |]
[V:B] G,, | C, | G,, | A,, || !green!!g>(!^F,, | !g>)!G,, | D, | G,, |]
Avec départ sur VII°7
L'accord VII°7 est un emprunt au mode mineur harmonique. F#°7 et D7 sont contitués de trois notes identiques F#, A et C.
Ils se distinguent par les notes D et Eb qui sont très proches.
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "F#°7"x | "G"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "VII°7"x | "I"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || _E | D | D | D |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, | !blue!!b>(!C | !red!!b>)!B, |]
[V:T] G, | A, | G, | G, || A, | G, | !green!!g>(!^F, | !g>)!G, |]
[V:B] C, | F, | G,, | C, || !green!!g>(!^F,, | !g>)!G,, | D, | G,, |]
Avec départ sur V7/5
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "D7/A"x | "G"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "V7/A"x | "I"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || D | D | !blue!!b>(!C | !red!!b>)!B, |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, | !green!!g>(!^F, | !g>)!G, |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | D, | D, |]
[V:B] C, | F, | G,, | C, || A,, | G,, | D,, | G,, |]
Avec départ sur VII°7/3
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "F#°7/A"x | "G"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "VII°7/A"x | "I"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || _E | D | !blue!!b>(!C | !red!!b>)!B, |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || !blue!!b>(!C | !red!!b>)!B, | !green!!g>(!^F, | !g>)!G, |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | D, | D, |]
[V:B] C, | F, | G,, | C, || A,, | G,, | D,, | G,, |]
Avec départ sur V7/7
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "D7/C"x | "G/B"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "V7/7"x | "I/3"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || D | G | !green!!g>(!^F | !g>)!G |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || A, | D | D | D |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | !blue!!b>(!C | !red!!b>)!B, |]
[V:B] C, | F, | G,, | C, || !blue!!b>(!C, | !red!!b>)!B,, | D, | G, |]
On peut avoir un mouvement de basse conjointe descendante si l'on met à la basse la quinte du deuxième D7.
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "D7/C"x | "G/B"x | "D7/A"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "V7/7"x | "I/3"x | "V7/5"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || D | G | !green!!g>(!^F | !g>)!G |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || A, | D | D | D |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | !blue!!b>(!C | !red!!b>)!B, |]
[V:B] C, | F, | G,, | C, || !blue!!b>(!C, | !red!!b>)!B,, | A,, | G,, |]
Avec départ sur VII°7/5
A vérifier
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "F#°7/C"x | "G/B"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "VII°7/5"x | "I/3"x | "V7"x | "I"x |]
[V:S] E | F | !orange!!o>(!F | !o>)!E || _E | D | D | D |]
[V:A] C | C | !red!!r>(!B, | !r>)!C || A, | G, | !blue!!b>(!C | !red!!b>)!B, |]
[V:T] G, | A, | G, | G, || !green!!g>(!^F, | !g>)!G, | !green!!g>(!^F, | !g>)!G, |]
[V:B] C, | F, | G,, | C, || !blue!!b>(!C, | !red!!b>)!B,, | D, | G,, |]
Avec départ sur II
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "Am"x | "D7/F#"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "II"x | "V7/3"x | "V7"x | "I"x |]
[V:S] G | A | G | G || A | A | !green!!g>(!^F | !g>)!G |]
[V:A] E | F | !orange!!o>(!F | !o>)!E || E | D | D | D |]
[V:T] C | C | !red!!r>(!B, | !r>)!C || C | !blue!C | !blue!!b>(!C | !red!!b>)!B, |]
[V:B] C, | F, | G, | C, || A, | !green!^F, | D, | G, |]
Q:1/1=40
%%piano2+2CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "Am"x | "F#°7/A"x | "D7/A"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "II"x | "VII°7/3"x | "V7/5"x | "I"x |]
[V:S] G | A | G | G || A | !green!^F | !green!!g>(!^F | !g>)!G |]
[V:A] E | F | !orange!!o>(!F | !o>)!E || E | _E | D | D |]
[V:T] C | C | !red!!r>(!B, | !r>)!C || C | !blue!C | !blue!!b>(!C | !red!!b>)!B, |]
[V:B] C, | F, | G, | C, || A, | A, | A, | G, |]
Avec départ sur VI
Q:1/1=40
%%piano3+1CD
K:C
[V:C] "C"x | "F"x | "G7"x | "C"x || "Em"x | "Am"x | "D7"x | "G"x |]
[V:D] "I"x | "IV"x | "V7"x | "I"x || "VI"x | "II"x | "V7"x | "I"x |]
[V:S] c | c | !red!!r>(!B | !r>)!c || B | c | d | d |]
[V:A] G | A | G | G || G | A | A/c/ | B |]
[V:T] E | F | !orange!!o>(!F | !o>)!E || E | E | !red!^F | G |]
[V:B] C, | F, | G, | C, || E, | A, | D, | G, |]