How to write chords using correct enharmonic spellings?

Question

Hello. I am trying to write some chords using tonicizations by inverting tritones and using chromatic descending lines in the soprano. I am looking for some help with chord labels and enharmonic spelling. The 1st two bars are easy enough as V is being tonicized. The second two bars are tricky because of that "diminished 3rd" chord. It really is just inverting the augmented 4th into a dimished 5th and resolving inwards instead of outwards. What chord is this actually and have I spelt it correctly?

Then bars 5 and 6 are easier but then again bar 7 and 8 I have used some dimished 7th chords and not sure if I have spelt them correctly.

Answer 1

In terms of classical theory, the third measure has a D7 chord, V/V, being enharmonically reinterpreted as an E♭♭ augmented sixth chord, which allows it to serve as a pivot to D♭. Enharmonic reinterpretation of this sort is not uncommon in the nineteenth century; it is sometimes shown to the reader with parenthetical notes.

(These are often smaller stemless solid noteheads to make it clear that they don't account for any time but are merely clarifying the function of the note they accompany. Unfortunately I cannot remember nor find any of the pieces I'm familiar with that use this technique, but this example does show that putting parentheses around an otherwise extra chord written with full-sized stemmed notes is indeed confusing: http://musictheory.pugetsound.edu/mt21c/EnharmonicModulationIntroduction.html)

The spelling given in the question is correct for the augmented sixth chord, but there are awkward intervals in both the inner voices from the preceding chord -- at least they are spelled awkwardly. To spell this according to classical theory, therefore, at least of the 19th century, you would probably want to write the chord as a D7 chord, following this in parentheses with the stemless E♭♭ augmented sixth chord.

Another option would be to spell measure 4 as a C♯ major chord, in which case you would add a parenthetical B♯ at the end of the left hand so as to spell the chord as a D(♮) augmented sixth.

But really, in the 20th and 21st century context, there's not a whole lot of reason to do this. It's more likely to increase confusion than to reduce it, compared with just spelling it as D7.

Answer 2

There are some general principles for enharmonic spelling, such as

• write in the key of the destination,
• use raised tones for rising patterns,
• use lowered tones for falling patterns,

but all of those principles are in the service of readability. While being theoretically correct often corresponds to readability, there are times it actually obscures things — or at least makes reading more difficult.

The only chord I would change in your examples is measure 3, beat 4. I would either just write it as D major, which is easy to read, or keep the Gb on top but write the lower two notes as A and D. You could even consider writing D major and then making the next chord C# major. In a piece that continued past that, you could either stay in C# major or switch to Db major after that whole-note chord.

Answer 3

The last chord in measure 3 is a correctly notated Ab7b9b5 with no root, which is a secondary dominant resolving to Db. Maybe you can make the performer's life easier by notating it as D7b9 (D-F#-A-C), which might not be strictly correct, but is much easier to read, and a musician would recognize the pattern anyway.

In measure 7, I see E7b9 with no root, resolving to Am, then D7b9 with no root, resolving to G, all notated correctly.

Answer 4

The double flats are unnecessary. The chord is a G6 passing from the C chord to the ensuing Db chord. The piece seems to be in C with an emphasis on the subdominant harmonies. (I like to call this the flat side but I don't know if this is standard.) Thus I prefer your choice of Db instead of C# even though there is a chromatic ascent.

In measure 7, I would prefer the third beat to have either a German Sixth or a French Sixth. The bass could have Ab, giving a stepwise chromatic descent and the A in the treble clef could get an F# making the chord a German Sixth. The C in that chord could be a D, forming a French Sixth and allowing a tie to the B in the next chord. There's nothing wrong with what you have written; I'm just tossing out ideas.