{"id":3929,"date":"2023-10-26T20:54:35","date_gmt":"2023-10-26T20:54:35","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-viio7-2\/"},"modified":"2026-02-05T17:47:25","modified_gmt":"2026-02-05T17:47:25","slug":"enharmonic-reinterpretation-of-viio7-2","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-viio7-2\/","title":{"raw":"Enharmonic reinterpretation of viio7","rendered":"Enharmonic reinterpretation of viio7"},"content":{"raw":"<div class=\"enharmonic-reinterpretation-of-viio7\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 45<\/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 the [pb_glossary id=\"5218\"]fully diminished seventh chord[\/pb_glossary] may be used as a means of modulation through enharmonic reinterpretation<\/li>\r\n \t<li>How to respell a fully diminished chord to tonicize four different key areas<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Enharmonic equivalence with the fully diminished seventh chord\"><\/a>Enharmonic equivalence with the fully diminished seventh chord<\/h1>\r\n<p class=\"import-Normal\">As an entirely symmetrical chord consisting of minor thirds, the fully diminished seventh chord presents ample opportunity for enharmonic reinterpretation as a means for modulation. Consider four different yet enharmonically equivalent spellings of the fully diminished seventh chord in Example 45\u20111. By reinterpreting which member of the chord is acting as a leading tone, the fully diminished seventh chord can potentially tonicize multiple keys. Video T86 walks you through this example.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 45\u20111. Enharmonically equivalent fully diminished seventh chords<\/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\/Example-45.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-1024x260.png\" alt=\"image of chords on staff notated in bass clef\" width=\"1024\" height=\"260\" class=\"alignnone wp-image-4835 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this example here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Example 45.1<\/a><\/div>\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: T86 Enharmonic reinterpretation video 4: viio7 chords (12:01)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/WpK6nNyx_Pw?si=3uhcrz-1mQby2TTG\r\n<p class=\"import-Normal\">This video demonstrates how a fully diminished seventh chord can be respelled in order to tonicize four different key areas, working through the enharmonically equivalent chords shown in Example 45-1.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Adding to their complexity, enharmonically reinterpreted fully diminished seventh chords can function as leading-tone chords (viio7) or as secondary diminished chords (viio7\/x, where \"x\" is any major or minor triad). Study the excerpt from Schubert's Piano Sonata in B[latex]\\flat[\/latex] major that appears in Example 45-2. Here a secondary diminished seventh chord (viio7\/ii) in the tonic key is reinterpreted as the leading-tone chord (viio7) in the distantly related key of F[latex]\\sharp[\/latex] minor. At the end of m. 46, the chord is respelled to reflect its new function in the key of F[latex]\\sharp[\/latex] minor, but in many cases involving enharmonic reinterpretation, the composer may not respell the chord.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 45\u20112. Franz Schubert, Piano Sonata in B-flat major, D. 960, mvt. 1, mm. 42\u201349<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-1024x516.png\" alt=\"\" width=\"1024\" height=\"516\" class=\"alignnone size-large wp-image-4840\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-Schubert-960-mvt-1-42to49.mp3\"][\/audio]\r\n\r\nListen to the full recording, performed by Arthur Rubenstein, on <a href=\"https:\/\/open.spotify.com\/track\/3ckJ9AduoxqtAGuPnfSPfG?si=942463c613754e04\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown 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: T87 Enharmonic reinterpretation video 5: analysis with viio7 (3:15)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/7sgxXEMivgU?si=kwhVxXOq-BkW3rDJ\r\n<p class=\"import-Normal\">This video examines a passage from Schubert's Piano Sonata in B[latex]\\flat[\/latex] major, D. 960, mvt. 1 (Example 45\u20112), which enharmonically reinterprets a fully diminished seventh chord to get swiftly from the key of B[latex]\\flat[\/latex] major to F[latex]\\sharp[\/latex] minor.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 45-1 Chord spelling and reinterpretation\"><\/a>EXERCISE 45-1 Chord spelling and reinterpretation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 45-1 Chord spelling and reinterpretation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Respell the given chord, identify the root of each respelled chord, and identify the new keys. The first problem is done as a model.<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-300x205.png\" alt=\"Images of model and solution on treble clef staff\" width=\"300\" height=\"205\" class=\"aligncenter wp-image-4847 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-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-1024x206.png\" alt=\"Staff in bass clef with first chord shown as C-sharp, E, G, B-flat\" width=\"1024\" height=\"206\" class=\"alignnone wp-image-4849 size-large\" \/><\/a>\r\n<p class=\"import-Normal\">SET 2<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-1024x206.png\" alt=\"Staff in treble clef with first chord shown as E-sharp, G-sharp, B, D\" width=\"1024\" height=\"206\" class=\"alignnone wp-image-4850 size-large\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.1-Chord-spelling-and-reinterpretation-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.1 Chord spelling and reinterpretation<\/a><\/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\/Ex45.1-Chord-spelling-and-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.1 Chord spelling and reinterpretation<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 45-2 Analysis with enharmonic reinterpretation\"><\/a>EXERCISE 45-2 Analysis with enharmonic reinterpretation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 45-2 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 (most, but not all, [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary] are marked). Then answer the questions below.<\/p>\r\n\r\n<ol>\r\n \t<li>To what key does this excerpt modulate?<\/li>\r\n \t<li>What is the relationship between the opening key of G minor and the new key?<\/li>\r\n \t<li>What kinds of non-chord tones are marked in the second bar, third beat, of this excerpt?<\/li>\r\n<\/ol>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">E[latex]\\flat[\/latex]:______________________<br style=\"clear: both\" \/>A[latex]\\flat[\/latex]:______________________<br style=\"clear: both\" \/>F[latex]\\sharp[\/latex]:______________________<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 45\u20111. Ludwig van Beethoven, Piano Sonata, no. 8, op. 13, \u201cPathetique,\u201d mvt. 1, mm. 132\u201338<\/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\/WE-45.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-1024x679.png\" alt=\"image of score\" width=\"1024\" height=\"679\" class=\"alignnone wp-image-5834 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-Beethoven-Sonata-No.-8-Op.-13-1-mm-132-38.mp3\"][\/audio]\r\n\r\nListen to the full recording, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/4OiN15MXU4kJGbOqUwPgFT?si=5ecb7800b2e3442c\" 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 shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.2-Analysis-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.2 Analysis 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 href=\"https:\/\/open.spotify.com\/playlist\/4hpnDpouWc1ChGFApn9Bhg?si=58faa8709a3240e0\" target=\"_blank\" rel=\"noopener\">Spotify playlist for enharmonic reinterpretation with viio7<\/a>\r\n\r\n<\/div>\r\n<\/div>\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 45<\/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\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"enharmonic-reinterpretation-of-viio7\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 45<\/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 the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3929_5218\">fully diminished seventh chord<\/a> may be used as a means of modulation through enharmonic reinterpretation<\/li>\n<li>How to respell a fully diminished chord to tonicize four different key areas<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Enharmonic equivalence with the fully diminished seventh chord<\/h1>\n<p class=\"import-Normal\">As an entirely symmetrical chord consisting of minor thirds, the fully diminished seventh chord presents ample opportunity for enharmonic reinterpretation as a means for modulation. Consider four different yet enharmonically equivalent spellings of the fully diminished seventh chord in Example 45\u20111. By reinterpreting which member of the chord is acting as a leading tone, the fully diminished seventh chord can potentially tonicize multiple keys. Video T86 walks you through this example.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 45\u20111. Enharmonically equivalent fully diminished seventh chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-1024x260.png\" alt=\"image of chords on staff notated in bass clef\" width=\"1024\" height=\"260\" class=\"alignnone wp-image-4835 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-1024x260.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-300x76.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-768x195.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-225x57.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-350x89.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this example here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.1-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Example 45.1<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T86 Enharmonic reinterpretation video 4: viio7 chords (12:01)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T86 Malawey&#39;s Enharmonic Reinterpretation video 4: viio7 CHORDS\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/WpK6nNyx_Pw?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video demonstrates how a fully diminished seventh chord can be respelled in order to tonicize four different key areas, working through the enharmonically equivalent chords shown in Example 45-1.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Adding to their complexity, enharmonically reinterpreted fully diminished seventh chords can function as leading-tone chords (viio7) or as secondary diminished chords (viio7\/x, where &#8220;x&#8221; is any major or minor triad). Study the excerpt from Schubert&#8217;s Piano Sonata in B<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 that appears in Example 45-2. Here a secondary diminished seventh chord (viio7\/ii) in the tonic key is reinterpreted as the leading-tone chord (viio7) in the distantly related key of F<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. At the end of m. 46, the chord is respelled to reflect its new function in the key of F<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, but in many cases involving enharmonic reinterpretation, the composer may not respell the chord.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 45\u20112. Franz Schubert, Piano Sonata in B-flat major, D. 960, mvt. 1, mm. 42\u201349<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-1024x516.png\" alt=\"\" width=\"1024\" height=\"516\" class=\"alignnone size-large wp-image-4840\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-1024x516.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-300x151.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-768x387.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-1536x773.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-65x33.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-225x113.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-350x176.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2.png 1831w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-3929-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-Schubert-960-mvt-1-42to49.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-Schubert-960-mvt-1-42to49.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-45.2-Schubert-960-mvt-1-42to49.mp3<\/a><\/audio><\/p>\n<p>Listen to the full recording, performed by Arthur Rubenstein, on <a href=\"https:\/\/open.spotify.com\/track\/3ckJ9AduoxqtAGuPnfSPfG?si=942463c613754e04\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown 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: T87 Enharmonic reinterpretation video 5: analysis with viio7 (3:15)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T87 Malawey&#39;s Enharmonic Reinterpretation video 5: ANALYSIS with viio7\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/7sgxXEMivgU?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video examines a passage from Schubert&#8217;s Piano Sonata in B<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, D. 960, mvt. 1 (Example 45\u20112), which enharmonically reinterprets a fully diminished seventh chord to get swiftly from the key of B<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 F<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.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 45-1 Chord spelling and reinterpretation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 45-1 Chord spelling and reinterpretation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Respell the given chord, identify the root of each respelled chord, and identify the new keys. The first problem is done as a model.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-300x205.png\" alt=\"Images of model and solution on treble clef staff\" width=\"300\" height=\"205\" class=\"aligncenter wp-image-4847 size-medium\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-300x205.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-1024x700.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-768x525.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-65x44.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-225x154.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model-350x239.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/model.png 1119w\" 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-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-1024x206.png\" alt=\"Staff in bass clef with first chord shown as C-sharp, E, G, B-flat\" width=\"1024\" height=\"206\" class=\"alignnone wp-image-4849 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-1024x206.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-300x60.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-768x155.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-1536x310.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-225x45.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1-350x71.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-1.png 1861w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"import-Normal\">SET 2<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-1024x206.png\" alt=\"Staff in treble clef with first chord shown as E-sharp, G-sharp, B, D\" width=\"1024\" height=\"206\" class=\"alignnone wp-image-4850 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-1024x206.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-300x60.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-768x155.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-1536x310.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-225x45.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2-350x71.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-2.png 1861w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.1-Chord-spelling-and-reinterpretation-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.1 Chord spelling and reinterpretation<\/a><\/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\/Ex45.1-Chord-spelling-and-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.1 Chord spelling and reinterpretation<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 45-2 Analysis with enharmonic reinterpretation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 45-2 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 (most, but not all, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3929_2863\">non-chord tones<\/a> are marked). Then answer the questions below.<\/p>\n<ol>\n<li>To what key does this excerpt modulate?<\/li>\n<li>What is the relationship between the opening key of G minor and the new key?<\/li>\n<li>What kinds of non-chord tones are marked in the second bar, third beat, of this excerpt?<\/li>\n<\/ol>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">E<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;\" \/>:______________________<br style=\"clear: both\" \/>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;\" \/>:______________________<br style=\"clear: both\" \/>F<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;\" \/>:______________________<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 45\u20111. Ludwig van Beethoven, Piano Sonata, no. 8, op. 13, \u201cPathetique,\u201d mvt. 1, mm. 132\u201338<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-1024x679.png\" alt=\"image of score\" width=\"1024\" height=\"679\" class=\"alignnone wp-image-5834 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-1024x679.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-300x199.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-768x509.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-1536x1019.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-2048x1359.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-65x43.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-225x149.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-350x232.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3929-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-Beethoven-Sonata-No.-8-Op.-13-1-mm-132-38.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-Beethoven-Sonata-No.-8-Op.-13-1-mm-132-38.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-45.1-Beethoven-Sonata-No.-8-Op.-13-1-mm-132-38.mp3<\/a><\/audio><\/p>\n<p>Listen to the full recording, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/4OiN15MXU4kJGbOqUwPgFT?si=5ecb7800b2e3442c\" 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 shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.2-Analysis-with-enharmonic-reinterpretation.pdf\" target=\"_blank\" rel=\"noopener\">Ex45.2 Analysis 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 href=\"https:\/\/open.spotify.com\/playlist\/4hpnDpouWc1ChGFApn9Bhg?si=58faa8709a3240e0\" target=\"_blank\" rel=\"noopener\">Spotify playlist for enharmonic reinterpretation with viio7<\/a><\/p>\n<\/div>\n<\/div>\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 45<\/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<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_3929_5218\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3929_5218\"><div tabindex=\"-1\"><p>seventh chord spelled as a diminished triad with diminished seventh between root and seventh, forming a stack of all minor thirds<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3929_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3929_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/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":45,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-3929","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3929","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":44,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3929\/revisions"}],"predecessor-version":[{"id":7203,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3929\/revisions\/7203"}],"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\/3929\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=3929"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=3929"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=3929"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=3929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}