music theory for musicians and normal people by toby w.

rush

Altered
œ œ
œ
and
œ
œœ œ
Enharmonic
w
ww
Modulation
& b œœ œ n œœ
Altered common chord modulation
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?

œœ œœ
& b œœœ œ œ # n www
altered common chord modulation

# n # œœœ
is the same thing, only using the
pivot chord as an altered chord
in either the old key, the new key,
or both. F: I IV V
E: b VI 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 what if the chord type did change?

this technique is
in enharmonic modulation, we respell a chord
so — well, odd — that
enharmonically so the 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:

b bb wwww
inverting a fully diminshed seventh

b b # wwww
enharmonically?
yields another root-position fully

&
dimished seventh chord.

b b wwww b b wwww b b ∫ wwww

beethoven

respell
& & &
did!
invert

C: Ger.6 D b : V7
7
a° a°56 c°7
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 V7 (or a V7/x secondary dominant) three other possible keys:

bbbb
# œ b œœœ
in the other key!
# œœœ
& œœ # œœœ
& b œœ œœ n œ œœ œ œ
which can be

nœ
respelled as

G: I vii°7 vii°7
E: vii°65 I

? bb b œ œœ n œ n œœ # œ
& œœ
b œœœ œ
b ∫ œœœ
bb œ nœ
œ n b b œœœ
which can be
respelled as

G: I vii°7 vii°7
D b : IV 6
V 7 b
D : vii°34 I
# œ b œœœ œ b n œœœ
b œœœ
C: Ger.6 V I
note that the pivot chord above is & œœ œ which can be
respelled as
approached like a dominant seventh,
but resolved like an G: I vii°7 vii°7
augmented sixth chord! b
B : vii°42 I
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