We’ve already dealt with changes of mode from minor to major and vice versa – but here’s a famous and spectacular example to refresh your memory (don’t be fooled into turning the volume up or you’ll be deafened!):
We can now move on to the fundamental harmonic topic of changes of key aka modulation.
As a fairly straightforward(???) example, we looked in some depth at Bach’s C major prelude. Here’s my slow and uninflected version of the prelude together with a score with the chords marked for each bar, the modulatory notes pointed in red and the Schwencke bar marked in blue.
And here, for your entertainment, are three very different interpretations of said prelude:
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