Modulation to the major third degree

Could you move from the tonicization of the major sixth, for example in C:

V(mi7)/VI VI7(la7)

... once on la7:

re7 re#7dim mi maggiore

Modulating progression also.... Through the sensitivity to the bass I fear it would be too abrupt

Since Do is the lowered sixth degree of "mi", you put a German sixth and drop the bass to "si" with mi major in fourth and sixth... and you're home

antares86 wrote:

A modulating progression also.... Through the sensitive to the bass I fear it would be too abrupt

Can you be more precise? I didn't understand

Perhaps Antares means C C#, D D# (in progression) and then E in the bass.

I would do a mix between Abate and Zazza: C major, C minor, German sixth on C, and then E major in fourth and sixth, G7, and finally E major

There are many ways, more or less fast, to arrive at E major starting from C major.... it depends on how many measures you want to use to close the progression; for example, taking inspiration from Dante, instead of going straight to V I, to lengthen the progression you could also do V24 I6 and then VII7dim I... in order to further delay the tonic of E major.

It is a choice.

Yes Dante, that was more or less the idea...

I would use A as the pivot note.

C major: I V VI, linking the bass, I put the V24 (B D# F# with A in the bass) and resolve on G# as the I6 of E major, followed by a confirmation (like II6 I46 V7 I).

Or I would use C as the pivot note.

C major: a confirmation progression that returns to the C bass. Following that, the F# A E chord (with C in the bass), which is a II34 resolving to the I46 of E major... melodically I would do E (C major) F# (II34) G# (I46) or G A B (with E F# G# in parallel thirds).

The German sixth is also okay, adding an A# to the C major triad and resolving to I46.

A bit harder, but it can be softened with the altered fourth, is the use of the Neapolitan sixth (usually used in minor).

C major: a progression that leads to the IV6, read as a Neapolitan sixth, which resolves on A# with a diminished seventh and follows with the I46 of E major.

Even without the Neapolitan, one can reach the altered IV from the C major triad read as the VI of the minor mode (bass C A# B).

In any case, the resolution to the major sounds a bit like a Picardy third and is quite effective.

The most abrupt and dissonant but fastest: enharmony of the diminished seventh.

Do you have stylistic constraints?

Because I was thinking that one could use a triad with an augmented 5th, on the I degree of C major (C; E; G#), and from there on things go themselves

TheSimon wrote:

The most abrupt and dissonant but fastest: enharmony of the diminished seventh.

On which degree?

I don't remember at all how to modulate with this system. I remember it was a somewhat cumbersome and highly dissonant system, but nonetheless a 'Jolly' for modulating quickly into any key; I don't remember if it was necessary to start from a minor key... Experts, enlighten me

TheSimon wrote:

I don't remember at all how to modulate with this system. I remember it was a somewhat cumbersome and quite dissonant system, but still a 'Jolly' for modulating quickly into any key; I don't remember if it was necessary to start from a minor key... Experts, enlighten me.

do do mi sol

la do re# fa#

sol# si mi si

Not even too abrupt

A lot of interesting ideas have come up, but:

@ScalaQuaranta

After that C-E-G#, what should come next? I mean, to me it pulls towards an F-C-E-Ab, which perhaps takes me a bit out of key. Could you develop the idea up to E+?

@Zedef

Could you give a little example of the Neapolitan sixth? I don't think I understood it.

I am trying to create a PDF with a four-part harmonization.

as soon as I have some time I will publish it

There are only 3 diminished seventh chords
A C Eb Gb
A# C# E G
G# B D F
with inversions each can be interpreted in 4 different ways and therefore (4x3 =12 )
these resolve to all 12 keys of the scale.

With the Neapolitan sixth:

do mi sol

la do fa (IV6 = 6n)

la si re# fa#

sol# si mi.

Interesting Zedef

@Scala

Then I'll wait