Riemann Transformations

There are two classes of Riemann Transformations: Schritts (steps) and Wechsels (exchanges).
The tables below define twenty-four Schritts and Wechsels that allow us to relate any two Klangs. We
shall refer to chords in the following way: a C major Klang has the pitch(-classes) C, E, and G; a G
minor Klang has the pitch(-classes) G, E, and C.
In general, Schritts transposes a Klang the given interval extended in the Klangs natural
direction: up, in the case of major (or over) Klangs; down in the case of minor (or under) Klangs.
Wechsels, are Schritts followed by an exchange of the Klangs modality sign, from + to o, or from
o to +. Gegen [counter] Schritts transpose a Klang the given interval extended against the direction
that characterizes the Klang in question. So the Counter Fifth step transposes a major Klang down
(rather than up) a fifth, and a minor Klang up (rather than down). Alternatively, we may take the
Gegen-x designation to mean transposition of a Klang the inverse interval of x extended in (not
against) the natural direction of the Klang in question. So while Quintschritt [Fifth Step] transposes a
Klang a perfect fifth in its natural direction, Gegenquintschritt [Counter Fifth Step] transposes a Klang a
perfect fourth (the inverse of perfect fifth) in its natural direction.
I. Schritts

Quintschritt [English: Fifth Step] (abbreviated Q) transposes a Klang by the directed interval
(modulo 8ve) that extends from I to II. In the case of C+, where C functions as I and G as II, the
relevant interval is a perfect fifth up. Accordingly, Q(C+) = G+. In the case of Co, where C
functions as I and F as II, the relevant interval is a perfect fifth down; and, Q(oC) = oF, i.e., a B
minor triad. Alternatively, one could say that Quintschritt transposes a Klang the distance of a Quint (or
perfect fifth) extended in the direction that characterizes the Klang in question: up, in the case of
major (or over) Klangs; down in the case of minor (or under) Klangs.
Gegenquintschritt [Counter Fifth Step] (abbreviated Q) transposes a Klang by the directed
interval (mod 8ve) that extends from II to I. In the case of C+, where G functions as II and C as I,
the relevant interval is a perfect fifth down. Accordingly, -Q(C+) = F+. In the case of oC where F
functions as II and C as I, the relevant interval is a perfect fifth up. Thus, -Q(oC) = oG. Alternatively,
one could say that Gegenquintschritt transposes a Klang the distance of the inverse (modulo 8ve) of a
Quint extended in the direction that characterizes the Klang in question; or that Gegenquintschritt
transposes a Klang the distance of a Quint or fifth extended in the direction opposite to that which
characterizes the Klang in question.
Ganztonschritt [Wholetone Step] (abbreviated G) transposes a Klang by twice the interval (mod
8ve) that extends from I to II. In the case of C+, C functions as I and G as II. Thus, the interval
from I to II is a perfect fifth up. Twice that interval is a major ninth (compound major second) up.
Accordingly, G(C+) = D+. In the case of oC, where C functions as I and F as II, the relevant interval
is a perfect fifth down. Twice that interval is a major ninth (compound major second) down. Thus,
G(oC) = oB. Alternatively, one could define Ganztonschritt as a transformation that transposes a Klang
the distance of a whole tone extended in the direction that characterizes the Klang in question.
Gegenganztonschritt [Counter Wholetone Step] (abbreviated G) transposes a Klang by twice
the directed interval (mod 8ve) that extends from II to I. According to the protocols established
earlier with Quintschritt and Gegenquintschritt, and as their abbreviations suggest, Gegenganztonschritt and
Ganztonschritt are inverse-related transformations. In the case of C+, G functions as II and C as I.
Thus, the interval from II to I is a perfect fifth down. Twice that interval is a major ninth
(compound major second) down. Accordingly, G(C+) = Bb+. In the case of oC, where C functions
as I and F as II, the relevant interval is a perfect fifth down. Twice that interval is a major ninth
(compound major second) down. Thus, G(oC) = oD. Alternatively, one could define
Gegenganztonschritt as a transformation that transposes a Klang the distance of the inverse (modulo 8ve)
of a whole tone extended in the direction that characterizes the Klang in question; or as a
transformation that transposes a Klang a whole tone extended in the direction opposite to that which is
characteristic of the Klang in question.

Terzschritt [(Major ) Third Step] (abbreviated T) transposes a Klang by the directed interval
(mod 8ve) that extends from I to III. In the case of C+, where C functions as I and E as III, the
relevant interval is a major third up. Accordingly, T(C+) = E+. In the case of oC, where C functions
as I and A as III, the relevant interval is a major third down; and, T(oC) = oA, a D minor triad.
Alternatively, one could say that Terzschritt transposes a Klang the distance of a Terz or (major) third
extended in the direction that characterizes the Klang in question.
Leittonschritt [Leading Tone Step](abbreviated L) transposes a Klang by the directed interval
(mod 8ve) that extends from I to II plus the interval that extends from I to III. In the case of C+, the
relevant interval is a major seventh up. Accordingly, L(C+) = B+. In the case of oC, the relevant
interval is a major seventh down; and, L(oC) = oD. Alternatively, one could say that Leittonschritt
transposes a Klang the distance associated with the Leitton (leading-tone), viz., a major seventh,
extended in the direction that characterizes the Klang in question: up, in the case of major (or over)
Klangs; down in the case of minor (or under) Klangs.
Sextschritt [(Major) Sixth Step] (abbreviated K) transposes a Klang by the directed interval
(mod 8ve) that extends from II to III (or more precisely, by the interval that extends from II to I
plus the interval that extends from I to III). In the case of C+, the relevant interval is a major sixth
up. Accordingly, K(C+) = (A+). In the case of Co, the relevant interval is a major sixth down; and,
K(oC) = oE
Gegenleittonschritt [Counter Leading Tone Step] (-L) transposes a Klang by the directed
interval (mod 8ve) that extends from II to I plus the interval that extends from III to I.
Gegensextenschritt [Counter (Major) Sixth Step] (-K) transposes a Klang by the directed
interval (mod 8ve) that extends from III to II.
Gegenterzschritt [Counter (Major) Third Step] (-T) transposes a Klang by the directed interval
(mod 8ve) that extends from III to I.
Tritonusschritt [Tritone Step] (R) transposes a Klang by a tritone.
Primschritt [unisonstep], (abbreviated I), transposes a Klang by the interval (mod 8ve) that
extends from I to I. This transformation, not described by Riemann, is required by demands of
group structure.
Having defined the closed collection of schritt transformations, we are now in a position to
formalize the protocol for combining them:
Xschritt * Yschritt = (X + Y)schritt (mod 8ve)
In other words, summing the directed intervals of composed Schritts (and reducing any
compounds) yields the appropriate product Schritt. Composing Sextenschritt (K) and Terzschritt (T) in
the context of major Klangs yields Gegenleittonschritt (-L), since a major sixth up (the directed interval
by which K transposes major Klangs) and a major third up (the directed interval by which T
transposes major Klangs) sum to a minor ninth up, a compound of a minor second up (the relevant
directed interval by which -L, the inverse of L, transposes major Klangs). Combining K and T in the
context of minor Klangs still yields -L, since a major sixth down (the directed interval by which K
transposes minor Klangs) and a major third down (the directed interval by which T transposes minor
Klangs) sum to a minor ninth down, a compound of a minor second down (the relevant directed
interval by which -L, the inverse of L, transposes minor Klangs). Moreover, since schritts are
quantities that combine under simple addition, the group is commutative, which is to say that, in
general, X * Y = Y * X.
II. Wechsels
Wechsels, the second class of transformations presented in Riemanns Skizze einer Neuen Methode
der Harmonielehre, relate Klangs of opposite polarity.
Seitenwechsel [Side Exchange] [(abbreviated W) inverts a Klang about its ground-tone. The
transformation reflexively maps the major Klang and the minor Klang whose I-functions are executed
by the same pitch. In other words, it exchanges positive and negative forms of the same Einheit, so
that W(C+) = oC, and W(oC) = C+. Seitenwechsel appears in Goetschiuss work as stride relation,

defined in his context as a perfect fifth downward from any major keynote, and upward from any
minor keynote, with a change in mode. 1
Terzwechsel [(Major) Third Exchange] (abbreviated TW) inverts a Klang about I and III,
which is to say, around the Klangs constituent major third. In the case of C+, where C functions as I
and E as III, C and E exchange and G inverts around E and C to produce A; in all then, the
transformation yields the pitch-classes C, E, and A. In the case of oE, where E functions as I and C
as III, C and E exchange and A inverts around E and C to produce G; in all then, the transformation
yields the pitch-classes C, E, and G. Accordingly, TW(C+) = oE and TW(oE) = C+. The
transformation is functionally equivalent to what is more commonly called the Relative relationship.
Leittonwechsel [Leading Tone Exchange] (abbreviated LW) inverts a Klang around II and III,
which is to say, around the Klangs constituent minor third. In the case of C+, where G functions as
II and E as III, G and E exchange and C inverts around G and E to produce B; in all then, the
transformation yields pitch-classes G, E, and B. In the case of oB, where E functions as II and G as
III, E and G exchange and B inverts around G and E to produce C; in all then, the transformation
yields the pitch-classes C, E, and G. Accordingly, LW(C+) = oB and LW(oB) = C+.
Terzwechsel, defined earlier as inversion around the constituent major third of the Klang in
question, may alternatively be defined as a composite of Terzschritt followed by the inversion of the
result via Seitenwechsel, namely inversion around I (and I). One might then understand the designation
Terzwechsel as an elision of Terzschrittseitenwechsel. Terz(schritt) only affects the ground-tone element of
Klang; (Seiten)wechsel only affects the polarity element. In the case of C+, then, TW(C+) = W(E+) = oE;
and in the case of oC, TW(oC) = W(oA) = A+. One may carry out such procedures for the
remaining nine wechsels.
Quintwechsel [Fifth Exchange] (QW) transposes a Klang via Quintschritt and then inverts under
Seitenwechsel, or alternatively, inverts a Klang around I and II.
Sextwechsel [(Major) Sixth Exchange)] (KW) transposes a Klang via Sextenschritt and then
inverts under Seitenwechsel.
Ganztonwechsel [Whole Tone Exchange] (GW) transposes a Klang via Ganztonschritt and then
inverts under Seitenwechsel, or alternatively, invert a Klang around II (and II).
Tritonuswechsel [Tritone Exchange] (RW) transposes a Klang via Tritonusschritt and then
inverts under Seitenwechsel.
Gegenterzwechsel [Counter (Major) Third Exchange] (-TW) transposes a Klang a
Gegenterzschritt and then apply Seitenwechsel, or alternatively, inverts a Klang around III (and III).
Gegenganztonwechsel [Counter Whole tone Exchange] (-GW) transposes a Klang via
Gegenganztonschritt and then inverts under Seitenwechsel.
Gegensextenwechsel [Counter (Major) Sixth) Exchange] (-KW) transposes a Klang via
Gegensextenschritt and then inverts under Seitenwechsel.
Gegenquintwechsel [Counter Fifth Exchange] (-QW) transposes a Klang via Gegenquintschritt
and then inverts under Seitenwechsel.
Gegenleittonwechsel [Counter Leading Tone Exchange] (-LW) transposes a Klang via
Gegenleittonschritt and then inverts under Seitenwechsel.
F

Goetschius, Tone-Relations, 114.

Having defined the twenty-four transformations that satisfy the music-analytical requirement that
one ought to be able to relate any two Klangs and the structural requirement imposed by group theory
to establish a closed collection of transformations, we may now formalize the entire protocol for
combining schritts and wechsels. There are four possible combinations and hence four rules. The
first is copied from the earlier discussion of schritt combination:
1) Xschritt * Yschritt = (X + Y)schritt;
2) Xschritt * Ywechsel = (X + Y)wechsel;
3) Xwechsel * Yschritt = (XY)wechsel;
4) Xwechsel * Ywechsel = (XY)schritt.
All calculations are carried out modulo the octave; that is to say, any compound intervals
generated are reduced to their simple forms.

Riemann Transformations - Summary

0B

Schritts

1B

1) Quintschritt
2) Gegenquintschritt
3) Ganztonschritt
4) Gegenganztonschritt
5) Terzschritt
6) Sextschritt
7) Leittonschritt
8) Gegenleittonschritt
9) Gegensextschritt
10) Gegenterzschritt
11) Tritonusschritt
12) Primschritt

[Q]
[-Q]
[G]
[-G]
[T]
[K]
[L]
[-L]
[-K]
[-T]
[R]
[I]

P5
P4
M2
m7
M3
M6
M7
m2
m3
m6
a4
prime

I to II.
II to I.
2(I to II).
2(II to I).
I to III.
II to III.
I to II, I to III.
II to I, III to I.
III to II
III to I.
2(I to II), I to III.
I to I.

C+G+; oCoF
C+F+; oCoG
C+D+; oCoB
C+B+; oCoD
C+E+; oCoA
C+A+; oCoE
C+B+; oCoD
C+D+; o CoB
C+E+; oCoA
C+A+; oCoE
C+F+; oCoF
C+C+; oCoC

Wechsels

2B

13) Seitenwechsel
14) Quintwechsel
15) Sextwechsel
16) Leittonwechsel
17) Ganztonwechsel
18) Terzwechsel
19) Tritonuswechsel
20) Gegenterzwechsel
21) Gegenganztonwechsel
22) Gegensextwechsel
23) Gegenquintwechsel
24) Gegenleittonwechsel

[W]
[QW]
[KW]
[LW]
[GW]
[TW]
[RW]
[-TW]
[-GW]
[-KW]
[-QW]
[-LW]

Invert around I.
Q, then W.
K, then W.
L, then W.
G, then W.
T, then W.
R, then W.
-T, then W.
-G, then W.
-K, then W.
-Q, then W
-L, then W.

C+oC; oCC+
C+oG; oCF+
C+oA; oCE+
C+oB; oCD+
C+oD; oCB+
C+oE; oCA+
C+oF; oCF+
C+oA; oCE+
C+oB; oCD+
C+oE; oCA+
C+oF; oCG+
C+oD; oCB+