One of the topics I get asked to cover the most is modulating between different keys. So in today's newsletter I'll give a very basic introduction to the technique, with some examples from well known film scores, showing you how you can use it to add extra energy and excitement to your music.

So what is Modulation in Music?

To modulate in music, basically means to change keys or tonal centre.

Modulating between different keys has long been used by composers to create additional interest and freshness in their music.

It's one of the most useful techniques film composers can use when extending or getting 'more mileage' out of a single theme, along with adding intensity to a scene.

Modulation can also be a great tool to keep your music interesting or to highlight a specific moment in a movie.

In general, modulations occur more frequently in genres such as classical music and orchestral film music - sometimes as frequently as every 8 or even 4 bars. This is in contrast to other styles such as Rock or Pop, where you may get only one obvious modulation/key change in a piece, typically during the 2nd half.

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Two main types of Modulation

Although there are many ways to modulate between different keys, I like to think of Modulation essentially coming in two forms -

1. Modulation that is used as an abrupt change - to increase tension or add extra energy (comparable to a key change in a pop song)
2. Modulation that is used more subtly or smoothly, where it may even not be immediately obvious, but helps to take the music on a journey, weaving its way through keys over a longer period of time.

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When writing to picture, you'll generally want to time a modulation to correspond with either a specific event or moment that's happening on screen, or at a key moment that will help to push the story forward.

Below I've gone through three examples of modulations from different film scores:

Alan Silvestri - Forrest Gump - 'Main Titles'

Key of A major to C Major

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Here is a simple modulation that abruptly changes from A major to C major.

Starting in the key of A major, once the main theme has been played twice, at around 1:19, the 2 bar motive that the melody derives from is heard in the Flute, before being passed to the Clarinet.

The last note of this motive is 'E', or the dominant note in the key of A major.

At 1:28, the music then modulates to the key of C Major. Alan Silvestri uses the note of 'E' as the first note in the new key. 'E' is the third note (or Mediant) in C major. The 'E' in this case is acting as a common tone or pivot note, as it is present in both the keys of A major and C major.

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The modulation works all the better because we have already heard the 'E' at the end of the A major section, so are more accepting of it, as we hear it momentarily at the beginning of the new section.

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Without the modulation, the third repetition of the theme may have risked becoming stagnant - the modulation helps to prevent this while also elevating the emotional intensity of the music by the rising.

James Newton Howard - The Village - 'Main Titles'

Key of G minor to B minor to D minor

​This is an example where the music again modulates abruptly, but this time also more frequently - sometimes after just 4 bars.

Starting at around 3:35, based in the key of G minor, a melodic 2 bar ascending & descending pattern is heard, which initially repeats a total of 4 times.

Then at around 3:57, the music modulates up a major 3rd to the key of B minor. The 2nd from last note in the G minor section is a 'D', which is now the first note in this new section of B minor. Our ear has recently heard that D, so is more accepting of it.

After 4 bars, at around 4:08, the music modulates again, going up another minor 3rd, this time to D minor. The last note in the previous section was an 'E', which we quickly hear has the 2nd note in the new key of Dm.

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So overall, these two modulations happen abruptly after one another, helping to add to the growing intensity of the music.

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Harry Gregson Williams & John Powell - Shrek - 'True Love's First Kiss'

Key of C Major to D Major to B Major

Here is another example of two separate modulations, which are a little smoother and less abrupt than the previous example.

​Starting from around 3:27, in key of C major, the harmony passes through a variety of diatonic chords (chords found in the key of C major) for 8 bars. The final chord in the section is G major at 3:48.

​At 3:50 the music then modulates up a tone (or major 2nd) to D major. The previous G major chord acts as a pivot chord, as it is found in both the key of C major (Chord V) and D Major (Chord IV).

We pass through a variety of diatonic chords found in D major for another 11 bars, before landing briefly again (for one beat) on the chord of G major at 4:11. This time, by only changing the bass note, from a G, to an E at 4:13, we now have an Em7 chord (E, G, B, D). This Em7 acts as a minor sub dominant chord (Chord IV) for the new key of B Major from 4:15.

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​I haven't even scratched the surface with these modulations. There is almost an infinite amount of possibilities when it comes to achieving effective modulations, but hopefully it has helped with the core idea of the technique.

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