Section 22.6 Modulations with Chromatic Pivot Chords
You will sometimes encounter examples where the pivot chord is a chromatic chord in at least one (and sometimes both) of the keys involved in the modulation.
Subsection 22.6.1 Secondary Common Chord
Below is an example where the pivot chord is a secondary chord in both keys.
Subsection 22.6.2 Borrowed Common Chord
In modulation by borrowed common chord (or mode mixture), the pivot chord will be a borrowed chord in one of the keys involved in the modulation.
In the following example, a borrowed chord, \(\left.\text{i}^{6}\right.\) in D♭ major, rewritten as a C♯ minor chord, is reinterpreted as \(\left.\text{vi}^{6}\right.\) in the second key, E major.
Subsection 22.6.3 Neapolitan Common Chord
A particularly adventurous and imaginative pivot is the Neapolitan, which can bridge the gap between two foreign (or distantly related) keys.
In the example above, Schubert bridges the tonal distance between D minor and A♭ minor with \(\left.\text{N}^{6}_{5}\right.\) (note the dominant-seventh quality of the Neapolitan in this instance), which acts as a \(\left.\text{V}^{6}_{5}\right.\) in A♭ minor, a tritone away from D minor.
Subsection 22.6.4 Augmented Sixth Common Chord
In the next chapter, we will examine how Augmented Sixth chords are enharmonically reinterpreted in a process known as enharmonic modulation.
