Schubert Piano Sonata in B - Carmen White

The Schubert Piano Sonata D575, IV. Allegro Giusto begins in B major. The first modulation occurs in measure 14 pickups to 15, where it modulates to D major (distant key). The modulation happens by way of chromatic mediant use. 

The second modulation occurs in measure 29, where it goes from D major back to the original B major for a restatement of the first musical idea. This is also a chromatic mediant modulation. 

The third modulation in 51 where it goes from BM to F#M (closely related). It modulates by using a diatonic pivot chord. The chord is a V chord in B major going to a F#M I chord. 

The fourth modulation occurs in measure 67, where it goes from F#M to its parallel minor, f#m. 

There is another modulation, but I'm confused on where it goes back to. Sounds like A major to F# major to complete the excerpt

Beethoven Piano Sonata Op. 13, ii

     Ludwig Van Beethoven’s Piano Sonata op. 13, movement  No. ii contains various modulations that occur throughout the piece. The first modulation that occurs is in measures sixteen to seventeen when the starting key of AbM modulates to its relative minor Fm at the of a new musical phrase. After the modulation in Fm there is a brief  modulation to its dominant Cm for measures twenty and twenty-one. Measure twenty-two fully modulates to EbM as EbM and Cm are closely related keys but the beginning of the modulation could be considered as occurring a beat earlier when the chord of AbM is being used as a pivot chord between the two closely related keys in measure twenty-one. The piece then modulates back to AbM when the EbM chord in measure twenty-seven is used as a pivot chord between the two keys. The Key modulates to its parallel minor Abm in measure thirty-seven. In measure forty-two the key modulates to EM, but I’m honestly not sure why. I presume it has to do with E being Dominant to A, but the dominant of Ab is Eb. The final modulation of the piece begins in measure forty-eight with a secondary leading tone chord but I don’t believe the full modulation really occurs until measure fifty-one.

 

Brahms A German Requiem i "Selig Sind"

 In Brahms’s A German Requiem, i “Selig Sind,” the excerpt begins in Db Major, and cadences in measure 96 (an IAC in DbM). In measure 97, with the addition of the Cb, I hear this chord as a 7th chord, particularly a V7 chord in the key of Gb Major, which is closely related to Db Major. I think the piece stays in GbM until m. 102, when it unexpectedly goes to F Major. I think the piece stays in F Major up until the end of the excerpt (m. 110/111), which includes the cadential 6/4 going to a I chord in m 110/111.

Beethoven , Violin Concerto in D Major, op. 61, mm. 273-296 - Jenkins

 The first modulation in this excerpt occurs in the second beat of measure 278. It begins in D major and modulates to A major through the use of G sharp. It is a short modulation; however, the cadenza ensures a modulation. This relationship can be distinguished as relative keys, A major being the Dominant key to D major. The piece returns to D major briefly in measure 282. Through the use of a chromatic mediant (G reaming natural in both keys), The piece appears to bein modulating to Ab major in measure 286. The piece remains in Ab major until what sounds to be a Half Cadence at the end of measure 296. Nonetheless, there are moments throughout the piece where it is hard to distinguish a "Do." For example, when listening to a recording, there is a moment when the piece sounds minor. I believed this to be chromatic tones, as there is no clear cadence to establish a modulation.

Vier Arietten und ein Duett modulation analysis - Kaylin Templeton

 Beethoven’s Vier Arietten und ein Duett starts off in A major. This is the main key as it keeps coming back. The first time it modulates is in measure 6, which modulates to E major. It only lasts a few bars, as A major is prominent in measure 9. In measure 13, it modulates to C major. Measure 21 modulates to E major, then back to A major by measure 25. Measure 29 modulates to G major, and then back to A major in measure 33, and stays in that key until the end of the piece. The duet uses E major as A major’s closely related key, but G major and C major are not closely related to A major. 

Waldesgesprach Analysis - Bolyard

Waldesgesprach by Robert Schumann modulates 4 times. The piece begins in E major, and it stays in this key from measures 1-14. The piece then modulates to C major for measures 15-32. The piece returns to E major from 33-40. In measures 41-44, this song modulates to the parallel minor, which is E minor. Finally, this piece returns to E major for measures 45-72. This piece uses no closely related keys or diatonic pivot tones for modulation. At first, this song was tricky to analyze the modulations since it uses so many secondary chords, and there are some other chromatic chords I was unable to analyze.

Haydn String Quartet Analysis

    For the piece I analyzed, Haydn, String Quartet op. 74, no. 1, ii, mm. 1-10, I only observed one modulation. The quartet began in the key of E major, and stayed in tonic throughout the first three measures. In measure 4, the predominant can be heard with the held viio7 chord, and this continues through to measure 8. In the predominant area, there is a pivot chord in measure 7 that is the I of E major and the IV of B major, and in measure 8 the piece modulates to the key of B major, continuing the IV in a different spelling. This is possible because B is a closely related key to E with it being the dominant of E major and only one sharp is added. The key of B major remains throughout the rest of the bars, with the dominant occurring in measures 9 and 10, and the final chord being the tonic. The circled notes are embellishments not meant to be notes in the chords. Something that I am not quite sure about is the presence of G and D naturals in the first chord of the B major key, the IV of the key. I am thinking this is just a stylistic choice to add even more tension to the predominant chord.