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You are here: Home / Music Theory Lessons / Chromatic Harmony Module

Chromatic Harmony Module

Modulation Part 1

  • Tonicizing vs. Modulation
  • The Secondary Dominant
  • Using Solfege for Secondary Dominants
  • Modulate to the V Key Using V of V

Modulation Part 2

  • Tonicizing Key Areas Other than V
  • Tendency Tones in Secondary Dominants
  • Further Modulation Techniques
  • Roman Numerals for Modulation

The Diminished 7th Chord

  • Interval Symmetry in the Diminished 7th
  • Enharmonic Respelling
  • The Diminished 7th as vii7 in Four Keys
  • Turning the Diminished 7th into V7
  • Modulation with the Diminished 7th


The Neapolitan

  • History of Neapolitan Harmony
  • The Neapolitan 6 as a Pre-Dominant
  • From Neapolitan 6 to V and V7
  • Neapolitan 6 to Cadential 6/4
  • Root-Position Neapolitan
  • Modulation with the Neapolitan
  • Neapolitan in Major Keys

Augmented 6th Chords 1

  • Embellishing the Phrygian Cadence
  • The Italian Sixth Chord
  • Solfege and Scale Degrees for It+6
  • What to Double in Four Voices
  • Resolving to V and Cadential 6/4
  • The Italian Sixth in Major Keys


Augmented 6th Chords 2

  • The German 6th: Embellishing iv 6/5
  • How to Resolve the German 6th
  • The German 6th in Major Keys
  • The French 6th: Embellishing ii 4/3
  • The Swiss 6th
  • Solfege for all Augmented 6th Chords

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