How do keys, cadences and modulation work, and how do I identify them by ear and on the page?
Keys and the major/minor system, the four cadence types and their function, and modulation to related keys (dominant, subdominant, relative and tonic minor/major), as the tonal framework for analysis and the composing exercises.
A focused answer to keys, cadences and modulation for OCR A-Level Music. Covers the major and minor key system, the circle of fifths and related keys, the four cadence types (perfect, imperfect, plagal, interrupted) and their function, and modulation to the dominant, subdominant, relative and tonic minor or major, for both listening analysis and the composing technical exercises.
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What this dot point is asking
Keys, cadences and modulation are the tonal framework that underpins both the analysis questions (Sections A and B) and the composing technical exercises (the chorale and counterpoint). This dot point sets out the major and minor key system and related keys, the four cadence types and their function, and how modulation moves between keys, so you can identify tonality by ear and handle it correctly when writing.
Keys and related keys
The four cadences
Modulation
Why this matters for analysis and composing
In analysis, identifying the key, its cadences and its modulations is directly examined and underpins your account of structure and character. In the composing technical exercises, you must write correct cadences and modulations: a chorale harmonisation needs well-formed cadences at the phrase ends and may modulate to related keys, and two-part counterpoint must imply a clear key. The same knowledge serves both hearing and writing.
Try this
Q1. Name the four cadence types and the chords of each. [Knowledge recall]
- Cue. Perfect (V to I); imperfect (any chord to V); plagal (IV to I); interrupted (V to VI).
Q2. How is a modulation usually achieved and confirmed? [Short explanation]
- Cue. Through a pivot chord common to both keys, signalled by a new leading note (accidental), and confirmed by a cadence in the new key.
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR 2019 (H543/05 Section B, style)3 marksIdentify the cadence at the end of the phrase and the key it is in. (Section B, prescribed work)Show worked answer →
Up to three marks. Name the cadence by its two chords and feel: perfect (V to I, finished), imperfect (any chord to V, unfinished), plagal (IV to I, the "amen"), or interrupted (V to VI, a surprise). State the key, including any modulation reached by that point (for example the dominant key after a transition). Markers reward correct cadence identification with the key, justified by the chords and the sense of arrival. They penalise naming a cadence with no chord justification, or missing a modulation that has changed the key. Use the bass notes and the finished or unfinished feel to decide.
OCR 2021 (H543/05 Section A, style)4 marksDescribe the tonality of the extract, including any modulations, and explain how you can tell. (Section A, unfamiliar listening)Show worked answer →
Up to four marks. State the home key's quality (major or minor) and describe any modulations (to the dominant, brightening; to the relative minor or major; to the tonic minor or major; to the subdominant), with the audible clues (a new leading note, a cadence in the new key, a change of mood). Markers reward an accurate account of the tonality and modulation with genuine justification, not a guess. They penalise vague statements ("it changes key") with no direction or evidence. Listening for cadences and new leading notes is the reliable way to track modulation.
Related dot points
- Triads and seventh chords, their qualities and inversions, Roman-numeral and figured-bass labelling, and functional harmony (tonic, subdominant, dominant function and common progressions), as the harmonic vocabulary for analysis and the composing exercises.
A focused answer to chords and functional harmony for OCR A-Level Music. Covers triads and seventh chords, major, minor, diminished and augmented qualities, inversions and their figured-bass and Roman-numeral labelling, and functional harmony (tonic, predominant and dominant function, common progressions and the cycle of fifths), for analysis and the composing technical exercises.
- Harmonic devices and dissonance, the pedal point and drone, suspensions, passing and auxiliary notes, sequences, chromatic chords (secondary dominants, diminished and augmented sixths) and their resolution, as examined in analysis and used in the composing exercises.
A focused answer to harmonic devices and dissonance for OCR A-Level Music. Covers pedal points and drones, suspensions and their resolution, passing and auxiliary notes, harmonic sequences, and chromatic chords (secondary dominants, the Neapolitan and augmented sixths), explaining how dissonance creates and resolves tension, for analysis and the composing technical exercises.
- Aural recognition of harmony, hearing major and minor chords, sevenths, cadences and modulations, and tracking harmonic rhythm and the bass line, as required by the listening questions and the harmonic dictation.
A focused answer to recognising harmony by ear for OCR A-Level Music. Covers hearing chord quality (major, minor, diminished, sevenths), identifying cadences and the bass line, tracking harmonic rhythm and modulation, and a method for the harmonic dictation, building the aural skill the listening questions and Section B require.
- Precise description of the harmonic, tonal and structural elements (major/minor and modal tonality, cadences, modulation, chord quality, pedal and dissonance, and the standard forms) for unfamiliar and prescribed-work questions in H543/05.
A focused answer to describing the harmonic, tonal and structural elements in OCR A-Level Music. Covers major, minor and modal tonality, modulation to related keys, cadences and chord quality, devices such as pedals, suspensions and dissonance, and the standard forms (binary, ternary, rondo, sonata form, theme and variations), with the vocabulary H543/05 rewards.
- The Bach chorale harmonisation technical exercise (Composing A): harmonising a given melody in four parts with functional harmony, correct cadences, good voice-leading and Bachian style, and the common rules and errors.
A focused answer to the Bach chorale harmonisation technical exercise in OCR A-Level Music Composing A. Covers harmonising a given chorale melody in four parts: choosing functional chords and cadences, voice-leading the SATB parts smoothly, using passing notes and suspensions, capturing the Bach style, and avoiding the common errors (parallels, poor spacing, weak cadences).
Sources & how we know this
- OCR A Level Music (H543) specification — OCR (2016)