{"id":3925,"date":"2023-10-26T20:54:34","date_gmt":"2023-10-26T20:54:34","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-v7-and-ger-6\/"},"modified":"2025-08-19T23:18:47","modified_gmt":"2025-08-19T23:18:47","slug":"enharmonic-reinterpretation-of-v7-and-ger-6","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-v7-and-ger-6\/","title":{"raw":"Enharmonic reinterpretation of V7 and Ger.+6","rendered":"Enharmonic reinterpretation of V7 and Ger.+6"},"content":{"raw":"<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 44<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How chords may be reinterpreted enharmonically as a means of modulation to [pb_glossary id=\"3688\"]distantly related[\/pb_glossary] keys<\/li>\r\n \t<li>How to respell a V7 as a Ger.+6, and vice versa, to modulate to a distantly related key<\/li>\r\n \t<li>How enharmonic reinterpretation of V7 and Ger.+6 functions in musical contexts<\/li>\r\n \t<li>How to hear and transcribe enharmonic modulations<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Enharmonic properties of V7 and Ger. +6\"><\/a>Enharmonic properties of V7 and Ger. +6<\/h1>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"4494\"]German augmented sixth chord[\/pb_glossary] is [pb_glossary id=\"249\"]enharmonically equivalent[\/pb_glossary] to a complete [pb_glossary id=\"5216\"]dominant seventh chord[\/pb_glossary]: both types sound like major-minor seventh chords, yet they are spelled differently. Likewise, the [pb_glossary id=\"4493\"]Italian augmented sixth[\/pb_glossary] is enharmonically equivalent to an incomplete dominant seventh. Composers exploit enharmonic equivalence as an efficient means for modulation to distantly related keys.<\/p>\r\n<p class=\"import-Normal\">Consider this: In C major, the V7 is spelled G\u2013B\u2013D\u2013F. If V7 is respelled enharmonically as G\u2013B\u2013D\u2013E[latex]\\sharp[\/latex], it can be reinterpreted as the Ger+6 in the key of B major or B minor. Study and listen to this process in Example 44\u20111.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 44\u20111. Reinterpretation of V7 as Ger.+6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-1024x282.png\" alt=\"image of chord progression on Grand Staff. Roman numerals beneath staff in C major: one, four, five-six-five of five, one-six-four, five, one, five-seven equals B minor: German augmented sixth, one-six-four, five-one, Neapolitan sixth, five-seven, one.\" width=\"1024\" height=\"282\" class=\"alignnone size-large wp-image-6839\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Likewise, the process can be reversed. For example, in C major, the Ger+6 is spelled A[latex]\\flat[\/latex]\u2013C\u2013E[latex]\\flat[\/latex]\u2013F[latex]\\sharp[\/latex]. If the Ger+6 is respelled enharmonically as A[latex]\\flat[\/latex]\u2013C\u2013E[latex]\\flat[\/latex]\u2013G[latex]\\flat[\/latex] (or G[latex]\\sharp[\/latex]\u2013B[latex]\\sharp[\/latex]\u2013D[latex]\\sharp[\/latex]\u2013F[latex]\\sharp[\/latex]), it can be reinterpreted in the key of D[latex]\\flat[\/latex] major or C[latex]\\sharp[\/latex] minor (another enharmonic equivalence!) as V7. This process is shown in Example 44-2.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 44\u20112. Reinterpretation of Ger.+6 as V7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-1024x261.png\" alt=\"image of chord progression on Grand Staff. Roman numerals beneath staff in C major: one, four, two-six-five, one-six-four, five-seven, one, four-six, German augmented sixth equals D-flat major: five-seven, one, four, five-seven, one.\" width=\"1024\" height=\"261\" class=\"alignnone size-large wp-image-6841\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.2-1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nSince any V7 chord is enharmonically equivalent to the German augmented sixth, secondary dominants can also be reinterpreted, leaving the possibilities wide open for sudden and swift modulations to many different foreign keys.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T83 Enharmonic reinterpretation video 1: intro (6:44)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/4QHlv5t--sI\r\n<p class=\"import-Normal\">This video introduces the concept of using the enharmonic properties of V7 and +6 chords as a means of modulation to [pb_glossary id=\"3688\"]distantly related[\/pb_glossary] key areas.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Beethoven uses enharmonic reinterpretation to modulate from A[latex]\\flat[\/latex] major to G minor in the fourth movement of his Piano Sonata no. 31. Listen to this excerpt (provided below in Example 44-3) and mark the pivot chord, key areas, and Roman numerals in mm. 113\u201316. If you get stuck, watch video T84, which walks you through this analysis.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 44\u20113. Ludwig van Beethoven, Piano Sonata no. 31, op. 110, mvt. 4, mm. 106\u201318<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image11.png\" width=\"1319\" height=\"959\" alt=\"image of score\" class=\"alignnone\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.3-Beethoven-_-Klaviersonate-Nr.-31-op.110-4.-mm106to118.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/7ePLRcdGuXYtobqQFEuDEz?si=599b004acb4345c2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T84 Enharmonic reinterpretation video 2: analysis (5:38)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/youtu.be\/XxUuPudPEYA<\/p>\r\n<p class=\"import-Normal\">In this video, we examine a passage from Beethoven's op. 110, mvt. 4 (Example 44\u20113), that features a striking enharmonic reinterpretation of V7 as Ger+6 to modulate from A[latex]\\flat[\/latex] major to the distantly related key of G minor.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Spelling enharmonically reinterpreted chords\"><\/a>Spelling enharmonically reinterpreted chords<\/h1>\r\n<p class=\"import-Normal\">Once you feel confident with your understanding of enharmonic reinterpretation as a concept, you can apply your new knowledge by spelling dominant sevenths (major-minor seventh chords), respelling the notes to create enharmonically equivalent augmented sixth chords, and determining the implied key areas associated with each enharmonically equivalent chord. Video T85 walks you through how to do this, using the V7 in C minor as a model.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T85 Enharmonic reinterpretation video 3: spelling (4:18)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/2qf4aad6sN8\r\n<p class=\"import-Normal\">This video demonstrates how to spell a V7 in the key of C minor and how to respell the same chord enharmonically as a Ger+6 in a new key.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 44-1 Chord spelling and reinterpretation\"><\/a>EXERCISE 44-1 Chord spelling and reinterpretation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 44-1 Chord spelling and reinterpretation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Provide a key signature for each of the problems below, and spell the given chord. Then respell the chord and identify the new key. The first problem is done as a model.<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-300x258.png\" alt=\"Images labeled model and solution\" width=\"300\" height=\"258\" class=\"aligncenter wp-image-4751 size-medium\" \/><\/a>\r\n<p class=\"import-Normal\">SET 1<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4752 size-large\" \/><\/a>\r\n\r\nSET 2\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4753 size-large\" \/><\/a>\r\n\r\nSET 3\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4754 size-large\" \/><\/a>\r\n\r\nSET 4\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4755 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.1-Chord-spelling-and-reinterpretation-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.1 Chord spelling and reinterpretation for SR<\/a><\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of this exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.1-Chord-spelling-and-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.1 Chord spelling and reinterpretation<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 class=\"import-Normal\"><a id=\"EXERCISE 44-2 Analysis with enharmonic reinterpretation\"><\/a>EXERCISE 44-2 Analysis with enharmonic reinterpretation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 44-2 Analysis with enharmonic reinterpretation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to the piece. Identify the key areas and label Roman numerals on the blanks provided beneath the staff for mm. 1\u201320, then answer the questions that follow.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 44\u20111. Robert Schumann, \u201cAm leuchtenden Sommermorgen,\u201d from <em>Dichterliebe<\/em>, op. 48<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-854x1024.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels.\" width=\"854\" height=\"1024\" class=\"alignnone wp-image-4761 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-843x1024.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels.\" width=\"843\" height=\"1024\" class=\"alignnone wp-image-4762 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-1024x617.png\" alt=\"image of score\" width=\"1024\" height=\"617\" class=\"alignnone wp-image-4764 size-large\" \/><\/a>\r\n\r\nRead an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=7709\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text (German poetry by Heinrich Heine) on lieder.net by baritone Paul Hindemith.\r\n\r\nListen to a recording of the song, performed by Fritz Wunderlich, on <a href=\"https:\/\/open.spotify.com\/track\/6TOq07msx73RGjTFLi1FfK?si=9d978ccd55c24a96\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Daverio and Eric Sams.\r\n\r\n<\/div>\r\n<\/div>\r\n<ol>\r\n \t<li>What is unusual about the very beginning of this song?<\/li>\r\n \t<li>Why might Schumann have begun this song in the way he did?<\/li>\r\n \t<li>There is a [pb_glossary id=\"4711\"]tonal cell[\/pb_glossary] in the key of ____ in mm. 8\u20139. What is the relationship of this key area to the tonic key?<\/li>\r\n \t<li>There is a tonal cell in the key of ____ in mm. 16\u201319. What is the relationship of this key area to the tonic key?<\/li>\r\n \t<li>Describe all the uses of [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] in this song.<\/li>\r\n<\/ol>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.2-Analysis-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.2 Analysis with enharmonic reinterpretation<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 44-3 Harmonic dictation with enharmonic reinterpretation of V7 and Ger.+6\"><\/a>EXERCISE 44-3 Harmonic dictation with enharmonic reinterpretation of V7 and Ger.+6<\/h1>\r\n<\/div>\r\n<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 44-3 Harmonic dictation with enharmonic reinterpretation of V7 and Ger.+6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nThis exercise will help you learn to aurally identify modulations to distantly related keys that use enharmonic reinterpretation of V7 and the German augmented sixth. For these exercises:\r\n<ul>\r\n \t<li>Play the audio up to four times.<\/li>\r\n \t<li>Your goals are to identify the opening key based on the given context, to notate the soprano and bass parts, and to label Roman numerals beneath the staff. You should also indicate the key to which the passage modulates.<\/li>\r\n \t<li>Mark the place where you hear the shift occur.<\/li>\r\n \t<li>Analyze the context to determine the key to which the progression modulates. For these progressions, either V7 in the old key will become Ger.+6 in the new key (the old \u201csol\u201d becomes \u201cle\u201d and resolves down by half step to the new \u201csol\u201d), or Ger.+6 in the old key will become V7 in the new key (the old \u201cle\u201d becomes \u201csol\u201d and resolves eventually to \u201cdo\u201d in the new key).<\/li>\r\n<\/ul>\r\nThese progressions appear in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a> as nos. 33\u201339.\r\n<p class=\"import-Normal\">MODULATING DICTATION 1<\/p>\r\n<span>[h5p id=\"93\"]<\/span>\r\n\r\n[audio m4a=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01-modulating-dictation.m4a\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 2\r\n\r\n<span>[h5p id=\"94\"]<\/span>\r\n\r\n[audio m4a=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-modulating-dictation.m4a\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 3\r\n\r\n<span>[h5p id=\"95\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 4\r\n\r\n<span>[h5p id=\"96\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 5\r\n\r\n<span>[h5p id=\"97\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 6\r\n\r\n<span>[h5p id=\"98\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/06-audio.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nMODULATING DICTATION 7\r\n\r\n<span>[h5p id=\"99\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/07-audio.mp3\"][\/audio]\r\n<div><\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.3-Harmonic-dictation-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.3 Harmonic dictation with enharmonic reinterpretation<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nListen to the audio examples featured in this chapter here: <a class=\"rId113\" href=\"https:\/\/open.spotify.com\/playlist\/6pdFSuLIphYYBgBsh9uNIL?si=f79dcc7bc8e24254\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for enharmonic reinterpretation<\/span><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 44<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/reinterpreting-augmented-sixth-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes's chapter on chromatic modulation<\/a> (Open Music Theory)\r\n<p class=\"import-Normal\"><a class=\"rId114\" href=\"https:\/\/www.youtube.com\/watch?v=QqHRKr5p3oM\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Drew Nobile's enharmonic modulation video<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 44<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How chords may be reinterpreted enharmonically as a means of modulation to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_3688\">distantly related<\/a> keys<\/li>\n<li>How to respell a V7 as a Ger.+6, and vice versa, to modulate to a distantly related key<\/li>\n<li>How enharmonic reinterpretation of V7 and Ger.+6 functions in musical contexts<\/li>\n<li>How to hear and transcribe enharmonic modulations<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Enharmonic properties of V7 and Ger. +6<\/h1>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_4494\">German augmented sixth chord<\/a> is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_249\">enharmonically equivalent<\/a> to a complete <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_5216\">dominant seventh chord<\/a>: both types sound like major-minor seventh chords, yet they are spelled differently. Likewise, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_4493\">Italian augmented sixth<\/a> is enharmonically equivalent to an incomplete dominant seventh. Composers exploit enharmonic equivalence as an efficient means for modulation to distantly related keys.<\/p>\n<p class=\"import-Normal\">Consider this: In C major, the V7 is spelled G\u2013B\u2013D\u2013F. If V7 is respelled enharmonically as G\u2013B\u2013D\u2013E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, it can be reinterpreted as the Ger+6 in the key of B major or B minor. Study and listen to this process in Example 44\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 44\u20111. Reinterpretation of V7 as Ger.+6<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-1024x282.png\" alt=\"image of chord progression on Grand Staff. Roman numerals beneath staff in C major: one, four, five-six-five of five, one-six-four, five, one, five-seven equals B minor: German augmented sixth, one-six-four, five-one, Neapolitan sixth, five-seven, one.\" width=\"1024\" height=\"282\" class=\"alignnone size-large wp-image-6839\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-1024x282.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-300x82.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-768x211.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-1536x422.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-65x18.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-225x62.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1-350x96.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex1.png 1833w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-3925-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Likewise, the process can be reversed. For example, in C major, the Ger+6 is spelled A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>\u2013C\u2013E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>\u2013F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>. If the Ger+6 is respelled enharmonically as A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>\u2013C\u2013E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>\u2013G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> (or G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>\u2013B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>\u2013D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>\u2013F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>), it can be reinterpreted in the key of D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major or C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor (another enharmonic equivalence!) as V7. This process is shown in Example 44-2.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 44\u20112. Reinterpretation of Ger.+6 as V7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-1024x261.png\" alt=\"image of chord progression on Grand Staff. Roman numerals beneath staff in C major: one, four, two-six-five, one-six-four, five-seven, one, four-six, German augmented sixth equals D-flat major: five-seven, one, four, five-seven, one.\" width=\"1024\" height=\"261\" class=\"alignnone size-large wp-image-6841\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-1024x261.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-300x76.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-768x196.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-1536x391.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-225x57.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2-350x89.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-ex2.png 1833w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.2-1.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.2-1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.2-1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Since any V7 chord is enharmonically equivalent to the German augmented sixth, secondary dominants can also be reinterpreted, leaving the possibilities wide open for sudden and swift modulations to many different foreign keys.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T83 Enharmonic reinterpretation video 1: intro (6:44)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T83 Malawey&#39;s Enharmonic Reinterpretation video 1: INTRO\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/4QHlv5t--sI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of using the enharmonic properties of V7 and +6 chords as a means of modulation to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_3688\">distantly related<\/a> key areas.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Beethoven uses enharmonic reinterpretation to modulate from A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major to G minor in the fourth movement of his Piano Sonata no. 31. Listen to this excerpt (provided below in Example 44-3) and mark the pivot chord, key areas, and Roman numerals in mm. 113\u201316. If you get stuck, watch video T84, which walks you through this analysis.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 44\u20113. Ludwig van Beethoven, Piano Sonata no. 31, op. 110, mvt. 4, mm. 106\u201318<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image11.png\" width=\"1319\" height=\"959\" alt=\"image of score\" class=\"alignnone\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.3-Beethoven-_-Klaviersonate-Nr.-31-op.110-4.-mm106to118.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.3-Beethoven-_-Klaviersonate-Nr.-31-op.110-4.-mm106to118.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-44.3-Beethoven-_-Klaviersonate-Nr.-31-op.110-4.-mm106to118.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/7ePLRcdGuXYtobqQFEuDEz?si=599b004acb4345c2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T84 Enharmonic reinterpretation video 2: analysis (5:38)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T84 Malawey&#39;s Enharmonic Reinterpretation video 2: ANALYSIS\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/XxUuPudPEYA?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">In this video, we examine a passage from Beethoven&#8217;s op. 110, mvt. 4 (Example 44\u20113), that features a striking enharmonic reinterpretation of V7 as Ger+6 to modulate from A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major to the distantly related key of G minor.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Spelling enharmonically reinterpreted chords<\/h1>\n<p class=\"import-Normal\">Once you feel confident with your understanding of enharmonic reinterpretation as a concept, you can apply your new knowledge by spelling dominant sevenths (major-minor seventh chords), respelling the notes to create enharmonically equivalent augmented sixth chords, and determining the implied key areas associated with each enharmonically equivalent chord. Video T85 walks you through how to do this, using the V7 in C minor as a model.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T85 Enharmonic reinterpretation video 3: spelling (4:18)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T85 Malawey&#39;s Enharmonic Reinterpretation video 3: SPELLING\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2qf4aad6sN8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video demonstrates how to spell a V7 in the key of C minor and how to respell the same chord enharmonically as a Ger+6 in a new key.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 44-1 Chord spelling and reinterpretation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 44-1 Chord spelling and reinterpretation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Provide a key signature for each of the problems below, and spell the given chord. Then respell the chord and identify the new key. The first problem is done as a model.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-300x258.png\" alt=\"Images labeled model and solution\" width=\"300\" height=\"258\" class=\"aligncenter wp-image-4751 size-medium\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-300x258.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-768x661.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-65x56.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-225x194.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution-350x301.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/00-model-and-solution.png 926w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p class=\"import-Normal\">SET 1<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4752 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1024x147.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-300x43.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-768x110.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1536x221.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-65x9.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-225x32.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-350x50.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.png 1906w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>SET 2<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4753 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1024x147.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-300x43.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-768x110.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1536x221.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-65x9.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-225x32.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-350x50.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.png 1906w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>SET 3<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4754 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-1024x147.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-300x43.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-768x110.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-1536x221.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-65x9.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-225x32.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03-350x50.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.png 1906w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>SET 4<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-1024x147.png\" alt=\"image of staff with chord symbols beneath\" width=\"1024\" height=\"147\" class=\"alignnone wp-image-4755 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-1024x147.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-300x43.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-768x110.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-1536x221.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-65x9.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-225x32.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04-350x50.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.png 1906w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.1-Chord-spelling-and-reinterpretation-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.1 Chord spelling and reinterpretation for SR<\/a><\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of this exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.1-Chord-spelling-and-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.1 Chord spelling and reinterpretation<\/a><\/div>\n<\/div>\n<\/div>\n<h1 class=\"import-Normal\"><a><\/a>EXERCISE 44-2 Analysis with enharmonic reinterpretation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 44-2 Analysis with enharmonic reinterpretation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to the piece. Identify the key areas and label Roman numerals on the blanks provided beneath the staff for mm. 1\u201320, then answer the questions that follow.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 44\u20111. Robert Schumann, \u201cAm leuchtenden Sommermorgen,\u201d from <em>Dichterliebe<\/em>, op. 48<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-854x1024.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels.\" width=\"854\" height=\"1024\" class=\"alignnone wp-image-4761 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-854x1024.png 854w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-250x300.png 250w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-768x921.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-1282x1536.png 1282w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-1709x2048.png 1709w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-65x78.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-225x270.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1-350x419.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p1.png 1818w\" sizes=\"auto, (max-width: 854px) 100vw, 854px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-843x1024.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels.\" width=\"843\" height=\"1024\" class=\"alignnone wp-image-4762 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-843x1024.png 843w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-247x300.png 247w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-768x933.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-1264x1536.png 1264w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-1686x2048.png 1686w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-65x79.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-225x273.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2-350x425.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p2.png 1893w\" sizes=\"auto, (max-width: 843px) 100vw, 843px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-1024x617.png\" alt=\"image of score\" width=\"1024\" height=\"617\" class=\"alignnone wp-image-4764 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-1024x617.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-300x181.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-768x463.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-1536x926.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-65x39.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-225x136.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop-350x211.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-Analysis-p3-crop.png 1804w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Read an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=7709\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text (German poetry by Heinrich Heine) on lieder.net by baritone Paul Hindemith.<\/p>\n<p>Listen to a recording of the song, performed by Fritz Wunderlich, on <a href=\"https:\/\/open.spotify.com\/track\/6TOq07msx73RGjTFLi1FfK?si=9d978ccd55c24a96\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<ol>\n<li>What is unusual about the very beginning of this song?<\/li>\n<li>Why might Schumann have begun this song in the way he did?<\/li>\n<li>There is a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_4711\">tonal cell<\/a> in the key of ____ in mm. 8\u20139. What is the relationship of this key area to the tonic key?<\/li>\n<li>There is a tonal cell in the key of ____ in mm. 16\u201319. What is the relationship of this key area to the tonic key?<\/li>\n<li>Describe all the uses of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3925_4287\">mode mixture<\/a> in this song.<\/li>\n<\/ol>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.2-Analysis-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.2 Analysis with enharmonic reinterpretation<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 44-3 Harmonic dictation with enharmonic reinterpretation of V7 and Ger.+6<\/h1>\n<\/div>\n<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 44-3 Harmonic dictation with enharmonic reinterpretation of V7 and Ger.+6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>This exercise will help you learn to aurally identify modulations to distantly related keys that use enharmonic reinterpretation of V7 and the German augmented sixth. For these exercises:<\/p>\n<ul>\n<li>Play the audio up to four times.<\/li>\n<li>Your goals are to identify the opening key based on the given context, to notate the soprano and bass parts, and to label Roman numerals beneath the staff. You should also indicate the key to which the passage modulates.<\/li>\n<li>Mark the place where you hear the shift occur.<\/li>\n<li>Analyze the context to determine the key to which the progression modulates. For these progressions, either V7 in the old key will become Ger.+6 in the new key (the old \u201csol\u201d becomes \u201cle\u201d and resolves down by half step to the new \u201csol\u201d), or Ger.+6 in the old key will become V7 in the new key (the old \u201cle\u201d becomes \u201csol\u201d and resolves eventually to \u201cdo\u201d in the new key).<\/li>\n<\/ul>\n<p>These progressions appear in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix E<\/a> as nos. 33\u201339.<\/p>\n<p class=\"import-Normal\">MODULATING DICTATION 1<\/p>\n<p><span><\/p>\n<div id=\"h5p-93\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-93\" class=\"h5p-iframe\" data-content-id=\"93\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01-modulating-dictation.m4a?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01-modulating-dictation.m4a\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01-modulating-dictation.m4a<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 2<\/p>\n<p><span><\/p>\n<div id=\"h5p-94\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-94\" class=\"h5p-iframe\" data-content-id=\"94\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-modulating-dictation.m4a?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-modulating-dictation.m4a\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02-modulating-dictation.m4a<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 3<\/p>\n<p><span><\/p>\n<div id=\"h5p-95\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-95\" class=\"h5p-iframe\" data-content-id=\"95\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03-audio.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 4<\/p>\n<p><span><\/p>\n<div id=\"h5p-96\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-96\" class=\"h5p-iframe\" data-content-id=\"96\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-audio.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 5<\/p>\n<p><span><\/p>\n<div id=\"h5p-97\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-97\" class=\"h5p-iframe\" data-content-id=\"97\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-audio.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 6<\/p>\n<p><span><\/p>\n<div id=\"h5p-98\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-98\" class=\"h5p-iframe\" data-content-id=\"98\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/06-audio.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/06-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/06-audio.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>MODULATING DICTATION 7<\/p>\n<p><span><\/p>\n<div id=\"h5p-99\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-99\" class=\"h5p-iframe\" data-content-id=\"99\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 44.3 Modulating enharmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3925-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/07-audio.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/07-audio.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/07-audio.mp3<\/a><\/audio><\/p>\n<div><\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex44.3-Harmonic-dictation-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex44.3 Harmonic dictation with enharmonic reinterpretation<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Listen to the audio examples featured in this chapter here: <a class=\"rId113\" href=\"https:\/\/open.spotify.com\/playlist\/6pdFSuLIphYYBgBsh9uNIL?si=f79dcc7bc8e24254\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for enharmonic reinterpretation<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"enharmonic-reinterpretation-of-v7-and-ger.+6\">\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 44<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/reinterpreting-augmented-sixth-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes&#8217;s chapter on chromatic modulation<\/a> (Open Music Theory)<\/p>\n<p class=\"import-Normal\"><a class=\"rId114\" href=\"https:\/\/www.youtube.com\/watch?v=QqHRKr5p3oM\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Drew Nobile&#8217;s enharmonic modulation video<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_3925_3688\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_3688\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ by more than one accidental<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_4494\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_4494\"><div tabindex=\"-1\"><p>type of augmented sixth chord containing scale degrees flat-6, 1, flat-3, and sharp-4; abbreviated as \"Ger.+6\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_249\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_249\"><div tabindex=\"-1\"><p>term referring to two notes, intervals, or chords that sound the same, but are spelled differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_5216\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_5216\"><div tabindex=\"-1\"><p>major-minor seventh chord built on scale degree 5; spelled as a major triad with minor seventh between root and seventh<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_4493\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_4493\"><div tabindex=\"-1\"><p>type of augmented sixth chord containing scale degrees flat-6, 1, and sharp-4; abbreviated as \"It.+6\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_4711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_4711\"><div tabindex=\"-1\"><p>short passage of music in a new key, longer than a tonicization but not a full modulation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3925_4287\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3925_4287\"><div tabindex=\"-1\"><p>use of chromatic chords that exist diatonically in the parallel major or minor mode<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":44,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-3925","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3925","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":68,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3925\/revisions"}],"predecessor-version":[{"id":7165,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3925\/revisions\/7165"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3925\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=3925"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=3925"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=3925"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=3925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}