While playing one of my favorite music pieces–Nocturne in C Major by Edvard Grieg–I discovered a unique type of chain modulation in measures 51-54. This modulation greatly enhances the harmony and musical form: it is not a traditional fourth-fifth progression but rather a sequence of secondary dominants from unrelated keys, moving through a second interval. Grieg’s Nocturne in C Major, Op. 54 No. 4 is a masterpiece that seamlessly blends lyricism with impressionistic harmonic innovation. The chain modulation, utilizing secondary dominants that transition through a second interval (see bars 5-8 of the following example), masterfully combines modality and chromaticism, enhancing emotional expression and captivating the listener.
In bars 1-4 of the following example, there is a chain modulation between keys that are closely related through a fourth-fifth relationship.
In bars 5-8, there is a chain modulation consisting of a sequence of secondary dominants from unrelated keys, moving through intervals of a second. In essence, this is a transposing sequence that shifts the dominant seventh chord by a minor second across unrelated keys.
The elliptical fourth-fifth chain of dominant seventh chords is also used in the second theme of the exposition (referred to as the “love theme” in Russian musicology) in P. Tchaikovsky’s orchestral work “Romeo and Juliet”.
The similarity in harmonic techniques between Grieg and Tchaikovsky’s music is not accidental, as they were contemporaries and shared a friendly relationship. https://en.tchaikovsky-research.net/pages/Edvard_Grieg
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