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Reger, Supplement to the Theory of Modulation

Max Reger · section 6 of 7

From d♭-minor

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89) E-major (e-minor)

Ex-89
Fig. 181 · Play this example in the reader ▶

Tonic d♭-minor; dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is at the same time the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; use this D-major, which is relative to the minor dominant (b-minor) of E-major (e-minor); minor sub-dominant (a-minor) of E-major (e-minor). (Cadence!)

Original harmonic analysis
Fig. 182 · See it in the reader

90) B-major (b-minor)

Ex-90
Fig. 183 · Play this example in the reader ▶

Tonic d♭-minor; dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is also the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; use this D-major, which is relative to the tonic of b-minor; dominant (F♯-major) of B-major (b-minor); tonic B-major (b-minor).

Original harmonic analysis
Fig. 184 · See it in the reader

91) F♯-major (f♯-minor)

Ex-91
Fig. 185 · Play this example in the reader ▶

Tonic d♭-minor; dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is at the same time the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; relative (b-minor) to this D-major; use this b-minor, which is also minor sub-dominant of F♯-major (f♯-minor). (Cadence!)

Original harmonic analysis
Fig. 186 · See it in the reader
Original harmonic analysis
Fig. 187 · See it in the reader

92) C♯-major (c♯-minor)

Ex-92
Fig. 188 · Play this example in the reader ▶

Tonic d♭-minor; dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is at the same time the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; use the 1st inversion of this D-major (chord of the sixth f♯ a d), which is also the chord of the Neapolitan sixth in C♯-major (c♯-minor). (Cadence!)

Original harmonic analysis
Fig. 189 · See it in the reader

93) G♯-major (g♯-minor)

Ex-93
Fig. 190 · Play this example in the reader ▶

Tonic d♭-minor, dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is at the same time the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; use this D-major as tonic; dominant (A-major) of D-major; use the 1st inversion of this A-major (chord of the sixth c♯ e a), which is also the chord of the Neapolitan sixth in G♯-major (g♯-minor).

Original harmonic analysis
Fig. 191 · See it in the reader

94) D♯-major (d♯-minor)

Ex-94
Fig. 192 · Play this example in the reader ▶

Tonic d♭-minor; dominant (A♭-major) of d♭-minor; use the 1st inversion of this A♭-major (chord of the sixth c e♭ a♭), which is at the same time the chord of the Neapolitan sixth in G-major; dominant (D-major) of G-major; change the D-major into d-minor and use this d-minor, which is also sub-dominant in a-minor; dominant E-major; use the 1st inversion of this E-major (chord of the sixth g♯ b e), which is at the same time the chord of the Neapolitan sixth in D♯-major (d♯-minor). (Cadence!)

Original harmonic analysis
Fig. 193 · See it in the reader