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 muziektheorie >  harmonie  > harmonieleer  > E. Chromatiek > altered chords
   
Section E. is not at all complete yet. In the moment only this is available:  altered chords / sections 1-3, 5, and part of section 9
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1. general information
2. diminished third on #4^; 
score examples (choose examples from the list below):
 
Schubert, Gesänge des Harfners I and III (D 478 and D 480)  beginning of both songs
Am Grabe Anselmos (D 504)  beginning of the song		 Schubert, Piano Trio 1, D 896, beginning of the second movement
Schubert, Erster Verlust D 226 Mozart, Piano Sonata in A minor K 310, second movement, middle section (development)
Mozart, Piano Sonata in Bb major K 333, first movement  development section
Bellini, Dolente immagine di Fille mia Mozart, Symphony in C major "Jupiter", second movement    transition to the second theme, and final part of the middle section (development)
Schubert, Symphonie No. 5 in Bb major, first movement   transition to the second group Beethoven, Symphony No. 5, first movement, first theme
3. enharmonization of the double diminished triad and seventh chord, and of the hard diminished seventh chord
 
score examples
4. #IV and IIhv in other inversions
 
score examples
5. scheme of all altered chords
6. diminished third on #4^:
score examples
7. diminished third op 7^:
score examples
8. diminished third on 2^ in minor, and on #2^ in major:
score examples
9. overview of the enharmonizations and possible modulations
10. other issues?

 
Mozart, Piano Sonata in Bb major K 333   first movement, development section
recording by Ronald Brautigan, fortepiano
The example below starts at 3'42'' on the recording
recording by Christoph Eschenbach (Youtube)
The example below starts at 3'53'' on the recording
here is the complete score of the first movement of this Sonata (pdf)
At the end of this fragment we see a very characteristic usage of an altered chord (here #IV): The dominant of a newly approached key is confirmed, at an important 'torque' in the form.
  • The development section starts in de dominant key F major; this key is 'stable' at first, though the final chord of the first phrase is an unexpected F minor chord (in measure 37)ann
  • From this moment things become instable, but we seem to aim at the home key Bb major from around measure 76
  • In measue 80 the key of Bb major is 'avoided', en we move to G minor (relative of the home key). In measure 81 we reach a 'lock on V' in G minor; in reaching and confirming this V the Italian and/or German augmented plays an important role
  • After this 'lock on V' in the 'wrong' key (G minor) we return - in the last moment - to the 'right key': See the 'lock on V' in Bb major from measure 88
(Andante cantabile con Espresssione)
      F major:               I                                           VII6
                                                         (after which we expect I, which does not appear...) ...)
The first measures of the development form a more or less stable phrase in the dominant key F major. Only at the end we hear an unexpected minor chord (in measure 71).
 
 
                  (VII4/3)                         II6                   V7              (VII4/3)                         I6/4                        V
   F minor: I    =  C minor: IV                                                                                V7
 
    C minor:  V7                                            I6/4 maj en min          Bb major:  IV6md
V7 is not really resolved: We are 'stuck' on the dominant / I6/4. In measure 76 follows a rather spectacular 
chromatic modulation: I6 / 4 in C minor is changed chromatically to IV6md in Bb major (see Gb in the bass).
 
  Bb major:  V7                                                                                                   (V6/5) -------------------------> VI

                                                      Through a chromatic step we leave the key of Bb major:
                                                      V7 does not resolve to I; instead we see a  prepared a deceptive 
                                                      cadence: V7 -> (V6 / 5) VI in measures 79 and 80
  Bb major:  VI
  g minor:   I          V6eol    VI7dm   #IVdv(6)/5    V                                                  VI  wordt             #IVdv(6)/5 
                                       of alleen 
                                    een doorgang?
 
Diatonic modulation from Bb majorto its relative key G minor: VI in Bb turns into I in G minor. From the second beat of measure 80, we move towards the dominant of G minor, through a chromatically descending 
bass. FOOTNOTE CONCERTO E.D>? The last chord before the dominant (in measure 80, fourth beat) is very characteristic: # IVdv6 / 5 (or without counting the Bb: # IVdv6). Then follows a lock on V ', in which #IV continues to play an important role. In fact, the augmented (6)/5-chord (Italian or German augmented) is approached from VI every time - which is very convenient, because VI has three common tones with # IVdv6 / 5 ...
The altered chord confirms the dominant or the relative minor key, at an important 'turning point' in the form: important "torque" in the form: the 'lock on V 'on the (' wrong') dominant at the end of the development section.ann
  G minor:  V                                 7         VI  becomes #IVdv(6)/5  V    I6/4 ..................... V
end of the 'lock on V' in g minor; in measure 87 we modulate chromatically to Bb major
Bb major: V4/3                                           V7                                               V 8 - 7            IV6md  of  II4/3md
                                                                        4 - 3 
So: At the last minute we finally move to the 'right' key, the home key Bb major; but because of the
use of Db and Gb this key is still temporarily changed to Bb minor (from measure 89).
From measure 88 there is a new lock on V ', this time in the home key.ann
 
                  Recapitulation
  Bb major: repetitions of the harmony from measure 89                                     V7 
                                                                                                                          The top voice causes that the key changes 
                                                                                                                          to Bb major (by using D natural)
 
                      Reprise
   Bb major: V7                                 I [ 9 - 8 ]                        II 4 - 3                                V7
 
   Bb major: I 9 - 10
                        7 - 8                                   II6        I6         II6       VII6     I6
 
                                                                                                                          end of the first group
           (herhaling)                                                                      V6/5  I    II6 9-8  I6/4 V   I