home  >  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 SWITCH TO THE DUTCH VERSION 1. general information 2. diminished third on #4^;  double diminished on #IV en hard diminished on II augmented 6-, 6/5 and 4/3 chords 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^: minor/diminished seventh chord on VII (Tristan chord) major/diminished seventh chord on VII in major ('Erwartungschord') score examples 7. diminished third op 7^: double diminished on VII en hard diminished on V hard diminished/diminished seventh chord (Eulenspiegel chord) on V diminished/double diminished/diminished seventh chord on VII in minor score examples 8. diminished third on 2^ in minor, and on #2^ in major: double diminished seventh chord on #II en hard diminished seventh chord on VII in major hard diminished/diminished seventh chord (Eulenspiegel chord) on VII minor/double diminished/verminderd seventh chord on VII in minor, and on #II in major; diminished/double diminished/diminished seventh chord on #II in major major/diminished seventh chord on V in minor augmented dominant seventh chord on V in major score examples 9. overview of the enharmonizations and possible modulations 10. other issues?

Schubert, Symphonie No. 5 in Bb major, first movement   transition to the second group recording by Charles Mackerras/ Orchestra of the Age of Enlightenment (1990 / complete Symphony) recording by Claudio Abbado/ The Chamber Orchestra of Europe (first movement) recording by Marek Janowski/ Orchestre de la Suisse Romande (2009 / complete Symphony) recording by Harnoncourt/ Wiener Philharmoniker (2010 / complete Symphony) here is the complete score of the first movement of the Symphony(pdf) Below you see a reduction of the outer voices of the transition in the first movement of the Symphony. This transition covers measures 41 through 64. The reduction clearly shows the process in the transition - a process that can be found in many pieces around 1800:  De transition begings stable, in the home key, using only I en V7  After a few measures a process of destabilization begins, by introducing chormaticism: see (V7) --> VI VI turns out to be the pivot in the modulation: The chord can be re-interpreted as II in the dominant key After this pivotal moment the harmony aims at (confirming) the dominant in the dominant key, via a chromatic descent in the bass. The 'turning point' is an altered chord: because we reach an octave between the outer voices after the altered chord, on V, we know for sure that we have reached a half cadence in the dominant key; we have achieved our goal In the final measures of the transition V in F major is further confirmed, using altered chords once more.ann It's nice that in this one transition all three augmented chords appear: German ( #IVdv6/5 ), Italian ( #IVdv6 ) and French ( IIhv4/3 ) Below you can see the process again, but in the score:

40 Flauto. Oboi Fagotti. Corni in B. Violino I. Violino II. Viola. Violoncello e bassso.

Bb major:   I6/4 V   I

__________________________|                                                              |________________________

end of first theme en beginning of transition (with overlap)

43        Bb major:  I                                V7                               I                                                                           (V7)                                                                                                                                                                          voor VI

beginning of the                                                                                                                                                                        destabilisation                                                                                                                                                                       and modulation

53

Bb major:  VI       F major:      II                   (V2)           V6            (V2)           IV6            #IVdv(6)/5   V              #IVdv6      V  II4/3hv   V  II4/3hv                                                                                                                         Italian or                        Italian          French       French                                                                                                                       German

63

F major:   V                            I    VII6  I6            II6  (VII4/3) II6      5/3      II  (VII6)  II6          I6/4   V7      I

half cadence

end of the transition           beginning of the second group