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Old 12-07-2017, 11:34 AM   #1
zanshin777
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Default Enharmonic Dominant Modulation

https://youtu.be/BThitegbIxk?t=1013 (Pinpointed Link)

1) I don't get the chord progression. (4-6-4 and 1-6-1) What does he mean?

2) Is Enharmonic Dominant Modulation is started with German Augmented 6th chord which is built on the 6th degree of the first key? As you see on the second example Ab is 6th on the first key;

Chord Prog :

IV VI iv (First Key)
Fm Abaug6 Db
iii V i (Second Key)

Last edited by zanshin777; 12-07-2017 at 11:55 AM.
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Old 12-09-2017, 04:01 PM   #2
JonR
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Default

Quote:
Originally Posted by zanshin777 View Post
https://youtu.be/BThitegbIxk?t=1013 (Pinpointed Link)

1) I don't get the chord progression. (4-6-4 and 1-6-1) What does he mean?

2) Is Enharmonic Dominant Modulation is started with German Augmented 6th chord which is built on the 6th degree of the first key? As you see on the second example Ab is 6th on the first key;

Chord Prog :

IV VI iv (First Key)
Fm Abaug6 Db
iii V i (Second Key)
When he says "four six four" I think he means a IV in 2nd inversion, which is called "6/4" in figured bass.
However, that's not what he is playing. His Fm (iv in key of C minor) is voiced Ab-C-F, so it's first inversion (plain "6" in figured bass) not 6/4.

Then he plays the "German 6th" chord (a type of augmented 6th chord) which would normally resolve to the V. I.e., in this case Ab7 to G. (It's called "augmented 6th" because of the interval from Ab-F#, which resolves outwards to the G-G octave.)

Then he says "one six four" and this time he plays it right: Cm/G (2nd inversion Cm), which is what's called a "cadential 6/4" in classical harmony. He follows that with the convention classical cadence > a root position G and a root position Cm.

He then says "4 6 4" again wrongly (playing a "IV6" chord, not a "IV6/4").

He's over complicating it really - at least for a pop-rock-jazz listener. In a minor key, a bVI7 chord is pretty common, and we don't need to call it a "german 6th", nor do we need to refer to inverted chords in figured bass language (which is obviously confusing in speech because of all the different numbers involved: roman numerals, inversion numbers and maybe chord extensions)!

I.e, anyone playing blues or jazz in C minor will come across an Ab7 chord pretty often. Normally it goes to G (in true classical style), but it's easy to see that Ab7 is also the V7 in Db major, so it could equally go there.

It's the "tritone sub" principle, basically. Any dom7 can be replaced with one a tritone away. Ab7 can lead to either G or Db, wherever you find the G or the Db.
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