What is the strongest evidence that a passage has modulated rather than merely tonicized a key?

Which term names a brief emphasis on a non-tonic chord, usually through its own dominant, without leaving the home key?

A passage in D major modulates to A major. Which chord belongs to both keys and could serve as the pivot chord?

In C major, which chord would tonicize the ii chord, D minor?

Music in G major turns toward E minor. Which new accidental is the leading tone that points to E minor?

When does a common chord function as convincing evidence of a pivot into a new key?

Which observation is least sufficient by itself to prove that a modulation occurred?

In C major, D–F♯–A resolves to G major, then C-major harmony immediately returns without a cadence in G. How should this passage be labeled?

A passage in F major uses G major resolving to C major, then soon returns to F major without cadencing in C. What occurred?

In G major, an A7 chord resolves to D major, and the music then returns to G without a cadence in D. What is the analysis?

Music in D major uses E7 resolving to A major, then returns to D-major harmony before any cadence in A. What happened?

In E♭ major, F7 resolves to B♭ major, and E♭ harmony resumes immediately with no cadence in B♭. How should the B♭ chord be understood?

A passage in A major moves through B7 to E major, then quickly resumes A-major harmony without cadencing in E. Which label fits?

In B♭ major, C7 resolves to F major and is followed at once by B♭-major harmony rather than a cadence in F. What occurred?

A passage begins in F major, moves to C major, cadences in C, and continues its next phrase with C as tonic. What happened?

Music starts in C major, cadences in A minor, and continues with A minor as the tonal center for several measures. How should the change be identified?

After beginning in G major, a section cadences in D major and remains centered on D major through its closing phrase. Which analysis is correct?

A passage in D major reaches a cadence in B minor, then its next phrase uses B minor as tonic and ends in B minor. What occurred?

Music beginning in E♭ major moves into B♭ major, cadences there, and continues with B♭ as tonic. How should the shift be described?

A piece starts in A major, arrives at an authentic cadence in E major, and its final phrase remains in E major. What is the correct analysis?