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Read first paragraph on page 392, 404 and 407
Know your chromatic chord vocabulary, be aware of chromatic chord function, and use assumption and
deductive reasoning as your filter. Look before and after to understand context and purpose.
And be wary of enharmonic guises and unusual circumstances that defy music theory conventions.
Modulation: Turek suggests there are two types: 1) with common chord and 2) chromatic
One more type includes direct/sectional. Consider the concept of tonal borders, and that music will travel
through many key areas. Determining pivotal modulations points is critical.
Discovering the modulations, and knowing how they were conceived, we then better understand the
intention and creativity of composer’s tonal plans.
Chromatic: Old Key D X X C: IV X X
New Key X D D G: X V7 I
Three Clues:
Chromatic Pitches:
a) A chromatically raised pitch is often the new leading tone.
b) A chromatically lowered pitch is often the 4 of b6 scale degree of the target key, ie chordal 7th of V7
c) Multiple accidentals, one will be either a) or b), above.
Contrasting accidentals ( # and b) are usually a o7 targeting Major/minor key (C#EGBb)
Chromatic Chords:
A Mm7 is usually a V7 targeting a key/root a 5th below or a 4th above
A o7 is usually functioning as a leading tone chord, targeting a minor second above the o7 root
A 2nd inversion M or m triad can function as a cadential 6/4. The root of this chord is the target.
An +6th chord usually is functioning as a predominant.
Modulating Cadences: Usually resolve to I/i, sometimes V, and occasionally a deceptive VI/vi.
Direct modulation can be an instantaneous new key, without a formal cadence into the new key area.
Thinking through a modulation pg. 395, further example types 232 and 233
Read the analysis of each, 233 through 237
The secret lives of chords:
The enharmonic Gr+6 Chord: While in chord construction it sounds identical to a Mm7, the spelling of the
chord, either +6 or V7, determines the chords tonal function. An +6 chord, the conventional chord in a key,
converted in to an enharmonic V7 is a possible application to modulate targeting bII. Ex. 238
C: Bb – D – F – G# +6/ii OR Bb – D – F – Ab V7/bIII, and further to V7/bVI
(+6 in the Key of C include F# and Ab)
Types of Augmented 6 Chord Possibilities:
th
Secondary +6 as PreDominant
Secondary +6 as Dominant
Secondary +6 as a secret V7 (and possibly to another V7)
The fully diminished 7th chord has the same capability of enharmonic disguise and alternate key prospects.
But, this chord has more advantages: 1) due to its symmetrical construction, 2) no inversions sounding
more convincing than the other, and 3) each note of the chord can be considered a leadingtone. Ex. 2311,
through 2314
The challenge in recognizing modulations that utilize enharmonic duality is when the chord is spelled one
way, but functions in a secret life, and we are left wondering and trying to discover the secret life of the
chord. Ex. 239 Keys: Bb – e – Eb and 2310
Homework: Pg. 281 1A. #15, Pg. 282 1.B #13 and Pg. 284 2A. #13, The Secret Lives of Chords: Pg.
287 3A. and 3B, Pg. 288 3C. #12, Pg. 289 #3D. #12, Pg. 290 3E, Pg. 294 3G. #2 – Schubert.