Here, the key of A is really only a chromatic mediant of D-flat if the former is respelled as B-double flat. 1, an interesting chromatic mediant modulation through respelling occurs in transition to the second statement of the B theme: This is a direct “phrase modulation,” making use of a beat’s pause and a repeated rhythmic gesture to move from F major to its chromatic mediant at the major third below, D-flat major, through the V7 chord in the new key. One relatively early and surprising example of chromatic mediant modulation occurs in the transition from exposition to development in the first movement of Mozart’s Piano Sonata No.

Each of these chromatic mediant possibilities shares one common tone with the C major triad and one chromatically altered tone of the C major triad (for instance, E-flat major shares G, the fifth of C major, and E-flat, the lowered third of C major). When we extend to allow for chromatic mediant relationships, we get the possibilities of E-flat major at the minor 3rd above and A major at the minor 3rd below, and E major at the at the major 3rd above and A-flat major at the major 3rd below. Those chords which have diatonic mediant relationships with C major are E minor at the 3rd above and A minor at the 3rd below. The chromatic mediant became a common modulatory device in early Romantic harmony.

Chromatic mediant relationships are relationships between two chords of the same quality whose roots are some type of third apart.

D flat major leading tone