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 3. enharmonization of the double diminished triad and seventh chord, and of the hard diminished seventh chord   score examples (choose examples from the list below):   Beethoven: Bagatelle for Piano op 119, No. 1 Piano Sonate Op. 10 No. 3, second movement  Largo e mesto Schubert, Winterreise D 911, Gefrorne Tränen Mozart, Piano Sonata in A minor K 310   beginning of the development section of the first movement 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, Winterreise D 911, Gefrorne Tränen   recording by Dietrich Fischer Dieskau and Murray Perahia (1990) recording by Ian Bostridge and Julius Drake  recording by Brigitte Fassbaender and Aribert Reimann recording by Peter Anders and Michael Raucheisen (1945) here is the complete score of the song (pdf) [ Text will follow...] Below, for now, harmonic analysis:

F minor:    V   I                 V   I              V   I               VI              IV  IV2md                                                                                                                         = (II2md V6/5 I6/4)  III9 - 8                                                                                                                                                              4 - 3

6

F minor:              IV -->   V        V    I                 V   I              V (9)  I                V   I                                  chrom.

|________________________________________________________                                                                     harmony unchanged compared with piano 'intro'

12

F minor:  VI             IV  IV2md                                     = (II2md V6/5 V         V6)  III            Ab major:        =  II2md V6/5 V          V6   I   I6/4       V6/5  I  ( etc.......................................) V7

____________________________|      harmony unchanged            Now we modulate to the relative major key,     compared with                Ab major (unlike in measures 5/6)     piano 'intro'

17

F minor:                                                                                                 [ I ]          [ V ]   Ab major: I   I6/4         V7    I  ( etc....................)                                         [VI]

modulation back to F minor            reaffirmation of F minor                                                                              via monophony /                              by 6^ --> 5^                                                                              leading tone E

|_____________________                                                                                                                             model

22

F minor:    [ V ]    #IVdv6    V           (VII7)        V                                                                                      Ab major:                         [ V ]    #IVdv6

harmony ' revolves around V '                                                           harmony ' revolves around V '

modulation to Ab major      reaffirmation of Ab major                                                                              via  monophony /                 by b6^ --> 5^                                                                              leading tone D (#4^)

____________________________________________|                                       |_________________                   model                                                                                                sequence

27

Ab major:  V          (VII7)      V               I6/4 min   I6/4 maj  V6/5 I6/4  V  V6ov  I (etc.......................

harmonie 'circelt rond V'                                                              chrom.                                                                                                                     dg.

__________________________|                              |_______________________________________            sequence                                                                      this section is repeated later

32

Ab major:   ..................................................) I6          (VII2 --------   > 6/5)                                                                                       for II

or in F minor:    (VII2 --------   > 6/5)     ( I6/4 ..................                                                                                      for IIV

[ that does not appear! Instead, we seem to head                                                                      to the VI of II (ie not to a Bb minor chord, but to Gb major,  by means a deceptive cadence). But this Gb major is just a sham: It never is stabilized as a key, because it  does not appear in root position, but only in 6/4 position, and combined with the dominant seventh chord on Db.  We could interprete then: I6 / 4 and V7 in Gb. Or - probably more logical - as (I6 / 4 V7) -> bII in F minor.  In the second measure of the following system the dominant seventh chord on Db is  enharmonized to the  German augmented ( #IVdv6/5 ) in F minor (see the note B in the piano part). So we can say:  The secondary dominant for the Neapolitan is enharmonized to the German augmented.

36

F minor: .... V7      ( 9 8 7 )        I6/4          V7 )  I6/4  IV  I6/4 V   (VII7)                                                         =#IVdv6/5                     voor IV

or in Ab major: (VII7)                    V4/3  I6/4 (etc.......................                                                                                              of II

[that does not                                                                                              appear]ann

sort of deceptive cadence; thereafter: repeat                                                                                         of the section from measure 30 (only the first                                                                                              two chords are changed)

|_____________________

41

Ab major:  (etc.......................................................................................................................................)                                                                                                F minor:   ........................................

45

F minor:  .................................................................................................................. V       I

This second time there is no                                                                                                                     deceptive cadence / diminished                                                                                                           seventh chord, but a PAC in F minor.                                                                                                          volkomen heel slot in f klein. The melody                                                                                                          exceeds the melody of the first time                                                                                                          (G2 is the highest note of the song!), which results                                                                                                           in a climax at the very end of the vocal part.

50

F minor:  ..................................................................................................................

Harmony as in the piano 'intro'. The only difference is the end: PAC instead of HC (compare measures 6/7)