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Chapter 19 Answer Key

Applications

Exercises

1. The example below modulates via a chromatic pivot chord. Identify the starting and ending keys, locate and label the pivot chord, and provide a complete harmonic analysis, including the cadence and nonchord tones.

Chapter 19 Answer Key2

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2. The passage below begins in C minor and modulates to a remote key via a chromatic pivot chord. Identify the new key, locate and label the pivot chord, and provide a complete harmonic analysis.

ExAmplE 19-15 Beethoven, Piano Sonata No. 27, Op. 90, II, mm. 118–126.

Brain Teasers

1. How would the pivot chord in Example 19-7 be spelled if it looked like Gr+6 in Db major?

2. Example 19-7 starts in the enharmonic Neapolitan key of D major. What is the literal Neapolitan key in relation to Db major? What might have moti-vated Schubert to use D major instead of the literal Neapolitan key?Answer: The true Neapolitan key in relation to Db major is Ebb major. This key exists in theory but is seldom encountered in practice because it involves three double flats (Bbb, Ebb, and Abb). The enharmonic key of D major is a more practical alternative.

Chapter 19 Answer Key 3

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Thinking Critically

Analyze the passage in Example 19-16. Identify and describe the type of modu-lation. How are the two keys related?

ExAmplE 19-16 Robert Schumann, “Widmung” from Myrthen, Op. 25, No. 1, mm. 12–14.

Discussion

This is an enharmonic common-tone modulation from Ab major to E major. Ab in the voice and piano part is recast as its enharmonic equivalent, G#, in m. 14. These two keys are distantly related, and E major is an enharmonic chromatic mediant (relative to Ab major, Fb major is bVI).