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Let's begin with a quick overview of the omnibus. Let's write it in C major for clarity's sake:

enter image description here

The omnibus takes a V7 chord (the second harmony of the first measure) and, keeping the minor third (chordal fifth and seventh) constant, it moves the major-third interval (the root and third) towards each other contrary motion by half step. This creates a large-scale voice exchange between the G/B, but also creates some nice chromatic harmonies in between.

Let's look at this chromatic harmonies:

  • We begin with a root-position V7. Boring.
  • With the G♯ in the bass, we can view this either as an enharmonically spelled V42 of ♭III or as a Ger°3 chord that will move to ii.
  • With the A in the bass, we have a minor triad (ii) in second inversion.
  • If we spell the A♯ as a B♭, we see that the next chord is a V7 of ♭III.
  • And finally we have a V65 of the tonic key.

And just to make certain we're on the same page, here's that same omnibus in your key of D♭ major: (listen to this example)

enter image description here

What's great about the omnibus is that you can stop on each of these chords and use it to modulate to anywhere else.

But more importantly, remember that the omnibus begins with a V7 and that it has a different V7 in the middle of it. This means that we can start one omnibus, and when we reach that other V7 in the middle, we can then start another omnibus. Consider the example below:

enter image description here

In the first measure, I have a V7 of my original D♭; this starts my omnibus. But on the third beat of the next measure, I reach the second V7 that's in the middle of the omnibus. At this point, I then start a new omnibus by holding onto the minor third in that V7 and I move the major third (C♭/E♭) towards each other by half step. I then proceed in that omnibus, at which point, when I reach that minor 64 triad of the new omnibus, I just make that a cadential 64 that cleanly modulates to your intended key: F♯ major. (And if you want to get really specific, the chord on the downbeat of m. 3 is an enharmonically spelled Ger°3 in the new tonic.) Listen to this example here.

Let's begin with a quick overview of the omnibus. Let's write it in C major for clarity's sake:

enter image description here

The omnibus takes a V7 chord (the second harmony of the first measure) and, keeping the minor third (chordal fifth and seventh) constant, it moves the major-third interval (the root and third) towards each other contrary motion by half step. This creates a large-scale voice exchange between the G/B, but also creates some nice chromatic harmonies in between.

Let's look at this chromatic harmonies:

  • We begin with a root-position V7. Boring.
  • With the G♯ in the bass, we can view this either as an enharmonically spelled V42 of ♭III or as a Ger°3 chord that will move to ii.
  • With the A in the bass, we have a minor triad (ii) in second inversion.
  • If we spell the A♯ as a B♭, we see that the next chord is a V7 of ♭III.
  • And finally we have a V65 of the tonic key.

And just to make certain we're on the same page, here's that same omnibus in your key of D♭ major: (listen to this example)

enter image description here

What's great about the omnibus is that you can stop on each of these chords and use it to modulate to anywhere else.

But more importantly, remember that the omnibus begins with a V7 and that it has a different V7 in the middle of it. This means that we can start one omnibus, and when we reach that other V7 in the middle, we can then start another omnibus. Consider the example below:

enter image description here

In the first measure, I have a V7 of my original D♭; this starts my omnibus. But on the third beat of the next measure, I reach the second V7 that's in the middle of the omnibus. At this point, I then start a new omnibus by holding onto the minor third in that V7 and I move the major third (C♭/E♭) towards each other by half step. I then proceed in that omnibus, at which point, when I reach that minor 64 triad of the new omnibus, I just make that a cadential 64 that cleanly modulates to your intended key: F♯ major. Listen to this example here.

Let's begin with a quick overview of the omnibus. Let's write it in C major for clarity's sake:

enter image description here

The omnibus takes a V7 chord (the second harmony of the first measure) and, keeping the minor third (chordal fifth and seventh) constant, it moves the major-third interval (the root and third) towards each other contrary motion by half step. This creates a large-scale voice exchange between the G/B, but also creates some nice chromatic harmonies in between.

Let's look at this chromatic harmonies:

  • We begin with a root-position V7. Boring.
  • With the G♯ in the bass, we can view this either as an enharmonically spelled V42 of ♭III or as a Ger°3 chord that will move to ii.
  • With the A in the bass, we have a minor triad (ii) in second inversion.
  • If we spell the A♯ as a B♭, we see that the next chord is a V7 of ♭III.
  • And finally we have a V65 of the tonic key.

And just to make certain we're on the same page, here's that same omnibus in your key of D♭ major: (listen to this example)

enter image description here

What's great about the omnibus is that you can stop on each of these chords and use it to modulate to anywhere else.

But more importantly, remember that the omnibus begins with a V7 and that it has a different V7 in the middle of it. This means that we can start one omnibus, and when we reach that other V7 in the middle, we can then start another omnibus. Consider the example below:

enter image description here

In the first measure, I have a V7 of my original D♭; this starts my omnibus. But on the third beat of the next measure, I reach the second V7 that's in the middle of the omnibus. At this point, I then start a new omnibus by holding onto the minor third in that V7 and I move the major third (C♭/E♭) towards each other by half step. I then proceed in that omnibus, at which point, when I reach that minor 64 triad of the new omnibus, I just make that a cadential 64 that cleanly modulates to your intended key: F♯ major. (And if you want to get really specific, the chord on the downbeat of m. 3 is an enharmonically spelled Ger°3 in the new tonic.) Listen to this example here.

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source | link

Let's begin with a quick overview of the omnibus. Let's write it in C major for clarity's sake:

enter image description here

The omnibus takes a V7 chord (the second harmony of the first measure) and, keeping the minor third (chordal fifth and seventh) constant, it moves the major-third interval (the root and third) towards each other contrary motion by half step. This creates a large-scale voice exchange between the G/B, but also creates some nice chromatic harmonies in between.

Let's look at this chromatic harmonies:

  • We begin with a root-position V7. Boring.
  • With the G♯ in the bass, we can view this either as an enharmonically spelled V42 of ♭III or as a Ger°3 chord that will move to ii.
  • With the A in the bass, we have a minor triad (ii) in second inversion.
  • If we spell the A♯ as a B♭, we see that the next chord is a V7 of ♭III.
  • And finally we have a V65 of the tonic key.

And just to make certain we're on the same page, here's that same omnibus in your key of D♭ major: (listen to this example)

enter image description here

What's great about the omnibus is that you can stop on each of these chords and use it to modulate to anywhere else.

But more importantly, remember that the omnibus begins with a V7 and that it has a different V7 in the middle of it. This means that we can start one omnibus, and when we reach that other V7 in the middle, we can then start another omnibus. Consider the example below:

enter image description here

In the first measure, I have a V7 of my original D♭; this starts my omnibus. But on the third beat of the next measure, I reach the second V7 that's in the middle of the omnibus. At this point, I then start a new omnibus by holding onto the minor third in that V7 and I move the major third (C♭/E♭) towards each other by half step. I then proceed in that omnibus, at which point, when I reach that minor 64 triad of the new omnibus, I just make that a cadential 64 that cleanly modulates to your intended key: F♯ major. Listen to this example here.