Hi guys. I’ll try and be as concise as possible. Forgive the messy score, its just a product of the confusion! I have a few query areas, but please feel free to correct me in any other areas. 



Bar 1- Is this a move from chord I (beats 1-2) to V (beats 3-4)? I view the E as a suspended second above the root D, which then becomes a chord tone of V7 (A7) on beat 3. The D at the end of the bar I am viewing as a passing note.



 Bar 3- According to the figure, we have a half dim7 on beat 2, before chord vi. Is this correct? I have not come across chord vii used like this before. 

Bar 6- here we have step-wise movement in the bass. I have gone with chord iii in root position for the 3rd beat. I almost went with chord I in first inversion instead. Is this right? Is chord I6 just as valid an option?

Bar 7- The last beat of bar 6 I viewed as V7, which should mean that we then land on D in bar 7 on beat 1. However, A is in the bass, so the D would have to be a second inversion chord. It seems as though a second inversion chord cannot be an option here, as it would be on the strongest beat of the bar, and not followed by Va. Instead, I went for chord V, but I am unsure whether V7 moving to V is valid? Perhaps the step-wise movement in the bass makes the D 6/4 chord okay?



 Bar 8- my main conundrum. Here, it looks as though we have a key change to either A Major or F sharp minor with the introduction of the G sharp on beat 3. However, I tried both and ran into trouble:


A Major: I viewed the second half of bar 8 as E7, however resolution to AM does not come on beat one of bar 9. Therefore I had to view the B in bass on beat 1 of bar 9 as a continuation of V7, now in second inversion. Beats 2 and 3 would be tonic A in second inversion. However, I am not sure if either second inversion chords are in legitimate places for second inversion chords (the one on beat 2 I thought could have been a passing 6/4, however, I hear this is only okay when the bass note is the middle note of three, all moving by step).



 F sharp minor: 

I then tried to view it as a change to F sharp minor. This time, I viewed the second half of bar 8 as Csharp7, awkwardly viewing the D in the bass as an accented passing note (on beat 3) before arriving on E off the beat. Bar 9 beat 1 I again viewed as a continuation of V7, this time now in third inversion. Then, beat 2 I viewed as a move to the tonic FsharpM7, again in third inversion. However, neither 7th has been prepared in the previous chord. Do the preparation rules not apply when the 7ths are in bass?


So, which is the correct modulation, and why?



Any help greatly appreciated! 

Thanks.

Ed

Hi guys. I’ll try and be as concise as possible. Forgive the messy score, its just a product of the confusion! I have a few query areas, but please feel free to correct me in any other areas. 



Bar 1- Is this a move from chord I (beats 1-2) to V (beats 3-4)? I view the E as a suspended second above the root D, which then becomes a chord tone of V7 (A7) on beat 3. The D at the end of the bar I am viewing as a passing note.



 Bar 3- According to the figure, we have a half dim7 on beat 2, before chord vi. Is this correct? I have not come across chord vii used like this before.



 Bar 6- here we have step-wise movement in the bass. I have gone with chord iii in root position for the 3rd beat. I almost went with chord I in first inversion instead. Is this right? Is chord I6 just as valid an option?

Bar 7- The last beat of bar 6 I viewed as V7, which should mean that we then land on D in bar 7 on beat 1. However, A is in the bass, so the D would have to be a second inversion chord. It seems as though a second inversion chord cannot be an option here, as it would be on the strongest beat of the bar, and not followed by Va. Instead, I went for chord V, but I am unsure whether V7 moving to V is valid? Perhaps the step-wise movement in the bass makes the D 6/4 chord okay?



 Bar 8- my main conundrum. Here, it looks as though we have a key change to either A Major or F sharp minor with the introduction of the G sharp on beat 3. However, I tried both and ran into trouble:


A Major: I viewed the second half of bar 8 as E7, however resolution to AM does not come on beat one of bar 9. Therefore I had to view the B in bass on beat 1 of bar 9 as a continuation of V7, now in second inversion. Beats 2 and 3 would be tonic A in second inversion. However, I am not sure if either second inversion chords are in legitimate places for second inversion chords (the one on beat 2 I thought could have been a passing 6/4, however, I hear this is only okay when the bass note is the middle note of three, all moving by step).



 F sharp minor: 

I then tried to view it as a change to F sharp minor. This time, I viewed the second half of bar 8 as Csharp7, awkwardly viewing the D in the bass as an accented passing note (on beat 3) before arriving on E off the beat. Bar 9 beat 1 I again viewed as a continuation of V7, this time now in third inversion. Then, beat 2 I viewed as a move to the tonic FsharpM7, again in third inversion. However, neither 7th has been prepared in the previous chord. Do the preparation rules not apply when the 7ths are in bass?


So, which is the correct modulation, and why?



Any help greatly appreciated! 

Thanks.

Ed