Editing Modulation (music) (section)

===Common-tone modulation===
[[File:Schubert - Op.163 (D.956), i common-tone modulation.png|300px|thumb|Modulation between relative keys, C minor and E{{music|b}} major, using a common tone, G, in Schubert's Op. 163 (D. 956).<ref>[[Leonard B. Meyer|Meyer, Leonard B.]] (1989). ''Style and Music: Theory, History, and Ideology'', p. 299. {{ISBN|9780226521527}}.</ref>{{audio|Schubert - Op.163 (D.956), i common-tone modulation.mid|Play}}]]
[[File:Common tone modulation between chromatic mediants in Mozart K 475.png|thumb|300px|Common-tone modulation between [[chromatic mediant]]s in Mozart's [[Fantasia in C minor, K. 475|K.475]]<ref>Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p. 321. McGraw-Hill. {{ISBN|0-07-035874-5}}.</ref>{{audio|Common tone modulation between chromatic mediants in Mozart K 475.mid|Play}}]]

Common-tone modulation uses a sustained or repeated pitch from the old key as a bridge between it and the new key ([[common tone (scale)|common tone]]). Usually, this pitch will be held alone before the music continues in the new key. For example, a held F from a section in B{{music|flat}} major could be used to transition to F major. This is used, for example, in [[Franz Schubert|Schubert]]'s [[Symphony No. 8 (Schubert)|Unfinished Symphony]]. "If all of the notes in the chord are common to both scales (major or minor), then we call it a ''common chord modulation''. If only one or two of the notes are common, then we call it ''common tone modulation''."<ref>Briggs, Kendall Durelle (2014). ''The Language and Materials of Music'', p. 198. Lulu.com. {{ISBN|9781257996148}}.{{self-published source|date=June 2022}}</ref>{{self-published inline|date=February 2020}}

Starting from a major chord, for example G major (G–B–D), there are twelve potential goals using a common-tone modulation: G minor, G{{music|#}} minor, B{{music|b}} major, B major, B minor, C major, C minor, D minor, D major, E{{music|b}} major, E major, E minor.<ref>Kopp, David (2006). ''Chromatic Transformations in Nineteenth-Century Music'', p. 50. Cambridge University Press. {{ISBN|9780521028493}}. After [[Adolf Bernhard Marx|Marx, Adolph Bernard]]. ''Theory and Practice'' (1837). Trans. Saroni.</ref> Thus common-tone modulations are convenient for modulation by diatonic or chromatic third.