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The Half-diminished Seventh Chord. Dominant function half-diminh;hed seventh

chords are also considered as incomplete dominant ninth chords. Therefore, the

dominant scale step is considered to be the root of the chord.

AugmentR4-Sixth Chords. Since the German-sixth (hereafter abbreviated Gli) is

essentially a iv6/5 chord with the fourth scale step raised, this fourth scale step

is considered to be the Toot of the chord. The same principal applies to the

Italian-sixth (It.&,) as a iv6 chord with the raised fourth.

The French-sixth (li'f\) is essentially a in a minor tonality with a

raised third. Thus, the supertonic note is considered to be the root of the chord.

Modulation Types

The val'ious means of modulation, shown in Table a, have been listed

according to type and also ranked according to frequency of occurrence.

TABLE 3. Modulation Types

Diatonic Pivot Chord

Linear Motion
Chromatic Pivot Chord
Third Relation
Enharmonic Mm Seventh Chord
Enharmonic Diminished Seventh Chord
Pivot Note
Deceptive Cadence

A wOI'king definition of each one follows:

Diatonic Pivot Chord A chord that is diatonic In both keys.

Usually the pivot occurs before the new dominant; however, it may

appeal' two chords prior to the new dominant.