6.3 Enharmonic Modulation
3 min read•august 6, 2024
Enharmonic modulation is a powerful tool for composers to move between distant keys smoothly. By respelling chords like diminished sevenths and augmented sixths, musicians can create unexpected harmonic shifts and exploit remote key relationships.
This technique adds depth to tonal compositions by creating functional ambiguity and allowing for creative transitions. It's a key part of expanding harmonic possibilities beyond closely related keys, giving composers more flexibility in their musical journeys.
Enharmonic Chords
Diminished Seventh and Augmented Sixth Chords
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- Diminished seventh chord contains a diminished triad and a diminished seventh above the root
- Consists of a series of minor thirds stacked on top of each other
- Can be respelled enharmonically as a diminished seventh chord on any of its tones
- Augmented sixth chord includes a major third and an augmented sixth above the bass note
- Three types: Italian sixth, French sixth, and German sixth
- Italian sixth consists of an augmented sixth, major third, and doubled root (Ab-C-F#)
- French sixth adds a perfect fourth to the Italian sixth (Ab-C-D-F#)
- German sixth includes an augmented sixth, perfect fifth, and major third (Ab-Eb-C-F#)
Dominant Seventh Chords and Enharmonic Equivalence
- Dominant seventh chord contains a major triad and a minor seventh above the root
- Can be respelled enharmonically to function as another chord type
- Example: G7 (G-B-D-F) can be respelled as an augmented sixth chord (Ab-C-Eb-F#)
- occurs when two chords with different spellings sound the same
- Allows for smooth modulations to remote keys
- Example: C7 (C-E-G-Bb) is enharmonically equivalent to Db7 (Db-F-Ab-Cb)
Enharmonic Modulation Techniques
Respelling Chords for Modulation
- Respelling a chord enharmonically can facilitate a modulation to a new key
- Example: Respelling G7 (G-B-D-F) as an augmented sixth chord (Ab-C-Eb-F#) in the key of C minor
- The augmented sixth chord resolves to the dominant chord in the new key (G major)
- Respelling diminished seventh chords can lead to modulations to remote keys
- Example: Respelling Cdim7 (C-Eb-Gb-Bbb) as Bdim7 (B-D-F-Ab) facilitates a modulation from C minor to E minor
Exploiting Remote Key Relationships
- Enharmonic modulations can establish relationships between keys that are not closely related
- Example: Modulating from C major to E major by respelling C7 (C-E-G-Bb) as B#7 (B#-Dx-F#-A)
- The respelled dominant seventh chord resolves to the tonic in the new key (E major)
- Composers can use enharmonic modulations to create unexpected harmonic shifts
- Example: Modulating from A major to Db major by respelling A7 (A-C#-E-G) as Bbb7 (Bbb-Db-Fb-Abb)
Functional Ambiguity in Enharmonic Modulations
- Enharmonic respellings can create functional ambiguity, allowing chords to serve multiple roles
- Example: G7 (G-B-D-F) can function as a dominant seventh in G major or an augmented sixth chord in C minor
- This ambiguity enables smooth transitions between keys
- Composers can exploit functional ambiguity to create harmonic interest and complexity
- Example: Using a German sixth chord (Ab-C-Eb-F#) as a to modulate from C minor to G major
Key Terms to Review (16)
Altered Chords: Altered chords are chords that have one or more of their notes changed from the expected notes within a diatonic scale, often involving raised or lowered tones. These modifications typically occur to create tension or to enhance harmonic progressions, making them essential in various styles of music, especially jazz and modern classical compositions. By altering specific tones, composers can achieve greater expressiveness and complexity in their harmonic language.
Augmented sixth chords: Augmented sixth chords are chromatic chords that typically resolve to the dominant chord and create a strong sense of tension before resolution. They are formed by taking the interval of an augmented sixth between the bass note and the tonic note of the key, often including a flattened sixth scale degree, which enhances their distinctive sound. These chords can be used for chromatic modulation, facilitating smooth transitions between keys, as well as enharmonic modulation, where they can be reinterpreted to serve different harmonic functions.
Chromatic mediant: A chromatic mediant is a chord that is a third away from a given chord and shares one common tone with it, often leading to rich harmonic progressions. This type of mediant creates unique emotional contrasts and is frequently used in various musical styles to enhance expressiveness and color. It can often provide a surprising shift in harmony that feels both related and distant at the same time.
Coloristic effect: Coloristic effect refers to the use of various musical techniques to create distinct timbres and emotional atmospheres within a composition. This term highlights how different instrumental combinations, orchestration choices, and harmonic progressions can evoke particular feelings or images in the listener. By employing these effects, composers can enhance the narrative and emotional depth of their works.
D-flat Major to C Major: D-flat Major to C Major describes the enharmonic modulation between two musical keys, where D-flat Major is a key with five flats and C Major is a key with no sharps or flats. This modulation allows composers to shift smoothly between keys that sound different but share the same pitches when viewed enharmonically, creating intriguing harmonic relationships and transitions in a composition.
Dominant function: The dominant function refers to the musical role of the dominant chord, typically the V chord, which creates tension that seeks resolution to the tonic. This function is crucial in establishing tonal centers and guiding harmonic progressions, often utilizing seventh chords to enhance this tension. The dominant function plays a significant role in various harmonic techniques, including modulation and voice leading.
Enharmonic equivalence: Enharmonic equivalence refers to the relationship between two notes that sound the same but are written differently, such as C♯ and D♭. This concept highlights the flexibility of notation in music, allowing composers to choose between different spellings depending on harmonic context or theoretical considerations. Understanding enharmonic equivalence is crucial when discussing modulation techniques and how keys can shift seamlessly in a piece of music.
G-sharp minor to a minor: G-sharp minor to A minor refers to a modulation technique that transitions from the key of G-sharp minor to A minor, often utilizing enharmonic relationships. This kind of modulation can create a smooth shift in tonality, enhancing the emotional impact of the music while exploring different harmonic landscapes. Such transitions can be used effectively in compositions to develop themes and contrast sections while maintaining a cohesive sound.
Hugo Riemann: Hugo Riemann was a German musicologist and composer known for his influential theories on harmony and tonality in Western music. His work has laid the foundation for understanding harmonic function, progression, and the role of cadences within tonal music, making him a key figure in music theory and analysis.
Jazz improvisation: Jazz improvisation is the spontaneous creation of music in the jazz genre, where musicians embellish melodies or create new musical ideas on the spot. It often involves an understanding of chord progressions and scales, allowing performers to express their creativity while maintaining a connection to the underlying structure of the piece. This form of expression not only showcases individual artistry but also emphasizes interaction among musicians, making each performance unique.
Modulation techniques: Modulation techniques refer to the various methods used to change the key of a piece of music, allowing composers to create contrasts, develop themes, and explore different emotional landscapes. These techniques enhance the dynamic nature of compositions, often adding complexity and depth by transitioning smoothly or abruptly from one key to another. Enharmonic modulation is one such technique that relies on enharmonic equivalents, creating opportunities for unexpected shifts in tonality.
Pivot chord: A pivot chord is a chord that is common to two different keys and serves as a bridge during modulation, facilitating the transition from one key to another. It allows composers to create smooth modulations by providing a point of tonal stability, which can help maintain coherence in the music while changing keys. Understanding pivot chords enhances the ability to analyze harmonic progressions and enriches the overall expressive quality of tonal music.
Richard Wagner: Richard Wagner was a German composer, conductor, and theater director known for his influential operas and his ideas on music drama. He transformed the concept of opera by integrating music, poetry, and visual elements, which played a significant role in the development of enharmonic modulation techniques that sought to expand tonal relationships within his compositions.
Romantic Period Music: Romantic period music refers to the style of music that emerged in the late 18th century and flourished throughout the 19th century, characterized by emotional expressiveness, individualism, and an emphasis on lyrical melodies. This era saw composers pushing boundaries in harmony, form, and orchestration, seeking to convey deep feelings and connect with the listener on a personal level. The use of enharmonic modulation became an important feature during this period, enabling composers to explore new tonal relationships and create a sense of surprise and innovation.
Tension and release: Tension and release is a fundamental musical concept that describes the emotional journey of music, where tension creates anticipation and release provides resolution. This dynamic interplay helps to engage listeners by creating moments of buildup followed by relief, shaping the overall structure and emotional impact of a piece.
Tonicization: Tonicization is the process of temporarily emphasizing a chord as if it were the tonic of the key. This is achieved by treating a non-tonic chord like the home chord, which creates a brief sense of resolution and stability. It often involves a secondary dominant or a modal interchange that allows composers to create a richer harmonic language and can lead to smoother transitions between sections.