Given melody

Melody 14 — Melody modulation to the dominant (second key)

Chromatic MelodiesF majorharmonize downward

Corpus id melody-14 · cite this id — it is permanent

What it teaches

The line changes home: a pivot chord that belongs to both keys, then the new leading tone — and from that bar on, the old tonic is a memory.

The given melody

4/4	bar 1	bar 2	bar 3	bar 4	bar 5	bar 6	bar 7	bar 8
Soprano	A4	C5	D5	B4	C5	E5	D5	C5

The given melody — harmonize it downward (F major, 4/4; ⌒ = tied from the previous note)

Write the bass, the figures and the inner voices beneath it. Sing the line first; sketch the bass alone against it; add the figures your bass implies; fill the inner voices last.

The model harmonization

4/4	bar 1	bar 2	bar 3	bar 4	bar 5	bar 6	bar 7	bar 8
Soprano	A4	C5	D5	B4	C5	E5	D5	C5
Alto	F4	F4	F4	D4	E4	G4	B4	G4
Tenor	C4	C4	A3	G3	G3	C4	D4	E4
Bass	F3	A3	D3	G3	C3	C4	G3	C3
Figures		6		#			#

The model realization (F major, 4/4; ⌒ = tied from the previous note)

The submediant is the hinge: the chord on the sixth degree of the old key and on the second degree of the new, and nothing about the moment it sounds says which. The raised fourth degree decides it — from there every pull points at the dominant key, and the close confirms the new home with its own full cadence.

At the keyboard

This realization is choral — the upper voices exceed a single hand’s span. Carry it into C major, G major.

Voice-leading patterns this exercise drills

Cite this exercise

Gradus Figured-Bass Corpus, melody-14 — Melody modulation to the dominant (second key). v1.1. https://gradusmusic.com/figured-bass-corpus/exercise/melody-14

Corpus v1.1 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/melody-14

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