Altered and Enharmonic Modulation

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Altered andmusic Enharmonictheory for musicians and normal people Modulation by toby w. rush œ œ w b œ œ œ nœ w Altered common chord modulation & œ œ is easy: remember diatonic common F: I IV V chord modulation, where we used a C: I V I chord that was diatonic in both the old and new keys? altered common chord modulation is the same thing, only using the œ œ pivot chord as an altered chord & b œ œ œ #nw in either the old key, the new key, œ # #œ w or both. F: I IV V n œ E: bVI V I Now, in both diatonic modulation and altered modulation, we have one chord that plays two different roles, one for each key. But the chord type doesn’t change... if it was a major chord in the old key, it’s still a major chord in the new key. ...but...but whatwhat ifif thethe chordchord typetype did change? this technique is in enharmonic modulation, we respell a chord so — well, odd — that so the enharmonically chord type itself there are only is different in the old and new keys. two specific ways to do it. ever notice that the german augmented sixth chord is just like fully diminished seventh chords are a major-minor seventh chord cool for a lot of reasons, and one of with the seventh respelled them is that they are equidistant chords: enharmonically? inverting a fully diminshed seventh yields another root-position fully dimished seventh chord. # w bw beethoven b ww b w did! & b w bw bw bww b ∫w 7 b w C: Ger.6 D : V b w b w w b & w7 invert & 6 & 7 a° a°5 respell c° we can take advantage of this and use it meaning that a fully diminished as a pivot chord... where it acts like a leading tone seventh chord german augmented sixth in one key can be a pivot chord into but like a 7 (or a 7 secondary dominant) V V /x three other possible keys: in the other key! which can be # œ bœ respelled as # œ & œ œ œ #œ b œ 7 œ 7 œ b b G: I vii° vii° & b b œ œ nœ œ 6 œ œ n œ œ E: vii°5 I which can be # œ bœ respelled as œ œ & œ œ b∫œœ n bœ ? b œ nœ 7 7 b œ b b œ nœ œ G: I vii° vii° b 6 œ7 4 b n œ D : vii°3 I D b : IV V b C: Ger.6 V I which can be note that the pivot chord above is # nœ œ bœ respelled as œ b œ approached like a dominant seventh, & œ œ bœœ but resolved like an G: I vii°7 vii°7 augmented sixth chord! 4 B b : vii°2 I licensed under a creative commons BY-NC-ND license - visit tobyrush.com for more.

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