Since keys like G and Eb didn't have any common chords (without mode mixture) when moving between Chromatic Mediant keys there is always a common tone. LIkewise, another common thing people did is called a "Common TONE Modulation". So while it's still a "big change" at the double bar, having heard the flats not too long ago kind of "presages" the appearance of the Eb, making it pretty logical. However Alebeniz "smooths it over" by using the parallel minor of G first (Gm) moving to its relative (Bb) then there's even a hint of Cm before getting back to G. G to Eb would be "shocking" in a direct modulation. Prior to Beethoven etc., most composers favored modulating to closely related keys, but as time went on, they began to experiment with moving directly to more distant keys (previously they would have used a lot of common chord modulations) and the chromatic mediant relations had a sound they liked. There is an important relationship that became used a lot in the Romantic Period and into the 20th century which was beginning to be explored as early as Beethoven (and a favorite device of Beethoven).Ī chromatic mediant is a chord that is the same quality with a root a 3rd away. Some call it a "Phrase Modulation" because it usually happens between the end of one phrase and the beginning of another as it does here.
The section ends in G at the double bar and immediately moves to Eb.
In fact, a little time is spent in Bb almost immediately as soon a the parallel minor is introduced (Gm "modulates" to Bb if you like) and then it goes back to G Major at bar 18 for the repeat of the intro. G Major is "distantly related" to Eb and Cm.īut Gm is "closely related" (closely related may be defined as a difference of only 1 accidental in the key signature, or, a 4th/5th away).īy changing to the minor mode, the move to Eb doesn't sound as "drastic". It begins in G Major, and at measure 11 changes mode to Gm.
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