Richard Bass, Review of Chromatic Transformations in Nineteenth-Century Music
Table 1. Kopp's Triadic Transformation Types
Label | Root Movement/Mode | No. of Common Tones |
Example |
I | "Identity"; no change | 3 | C major to C major |
P | "Parallel" mode; same root | 2 | C major to C minor, and vice versa |
D | Down a perfect fifth; same mode | 1 | C major to F major, or C minor to F minor |
D-1 | Up a perfect fifth; same mode | 1 | C major to G major, or C minor to G minor |
F | Down a perfect fifth; mode change | 1 | C major to F minor, or C minor to F major |
F-1 | Up a perfect fifth; mode change | 1 | C major to G minor, or C minor to G major |
R | Up or down a major third to a related chord; mode change | 2 | C major to E minor, and vice versa |
r | Up or down a minor third to a related chord; mode change | 2 | C major to A minor, and vice versa |
M | Down a major third to a chromatic mediant; same mode | 1 | C major to Ab major, or C minor to Ab minor |
M-1 | Up a major third to a chromatic mediant; same mode | 1 | C major to E major, or C minor to E minor |
m | Down a minor third to a chromatic mediant; same mode | 1 | C major to A major, or C minor to A minor |
m-1 | Up a minor third to a chromatic mediant; same mode | 1 | C major to Eb major, or C minor to Eb minor |
S | "Slide"; up or down by semitone; mode change | 1 | C major to C# minor, and vice versa |