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I'm teaching about enharmonic reinterpretations of o7 chords. In almost all of the examples we've looked at, the enharmonically reinterpreted o7 leads to the dominant of the new key (sometimes embellished by 6/4-5/3 voice leading).
I'm curious if folks can think of enharmonic o7 reinterpretations that lead to some chord other than the dominant of the new key. The only example I can find right now is Berlioz's "L'Adieu des Bergers" from L'enfance du Christ. M. 28 contains a B#o7 that is heard as viio7 in the previous key of C# minor, but is then reinterpreted as viio6/5 in G major and resolves directly to I6.
Can folks think of other examples where the enharmonically reinterpreted o7 leads to the new tonic, or some other chord other than V?
Thanks, David Heetderks
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