Enharmonic Spellings and Enharmonic Modulations

What are the two primary reasons composers use enharmonic spellings, as distinct from enharmonic modulation?

According to the discussion of enharmonic spellings, when a vii-diminished-7/V chord moves to a cadential I-6-4, why might a composer respell a note like A-flat as G-sharp?

In the discussion of enharmonic spellings for performer convenience, why does Schubert notate a passage in f-sharp minor instead of its enharmonically equivalent key, g-flat minor, in his String Trio D. 581?

What is the key difference between an enharmonic spelling for convenience and an enharmonic modulation?

Which four sonorities can be reinterpreted enharmonically to function in different keys, thus enabling enharmonic modulation?

Of the four sonorities that can be reinterpreted for enharmonic modulation, which two are most commonly used in tonal music?

A major-minor seventh chord can be enharmonically reinterpreted between which two common harmonic functions?

In the context of an enharmonic modulation using a major-minor seventh sonority, what is the most common functional relationship between the chord in the first key and its reinterpretation in the second key?

In Example 23-7 from Schubert's 'Der Neugierige', a G7 chord is reinterpreted as a Ger+6. What is the new key that this modulation leads to?

Why is the diminished seventh chord a particularly flexible tool for enharmonic modulation?

Despite its flexibility, how does the frequency of use of the diminished seventh chord in enharmonic modulations compare to that of the major-minor seventh chord?

In Example 23-9, Haydn modulates from A-flat major to f minor. What chord functions as the pivot in this enharmonic modulation?

What is the function of the enharmonicism found in Example 23-11 from Schubert's Impromptu op. 90, no. 3?

In Example 23-10 from Beethoven's Piano Sonata op. 2, no. 2, a C-sharp-diminished-7 chord in measure 140 is treated as a vii-diminished-4-2 in what key?

A D-flat 7 chord (Db-F-Ab-Cb) can function as a V7 in which key, and be enharmonically reinterpreted as a Ger+6 in which key?

An E-diminished-7 chord (E-G-Bb-Db) can be reinterpreted as the vii-diminished-7 of all the following keys EXCEPT one. Which one is it?

In Example 23-2, Mendelssohn notates a passage that tonicizes F-sharp major by writing the parts in which enharmonically equivalent key?

What is the primary implication when a listener hears a major-minor seventh or diminished seventh sonority, according to the chapter?

What does the term 'enharmonic modulation' specifically refer to?

In an enharmonic modulation, what is the most important aspect of the common chord?

If a B-flat 7 chord is acting as a pivot, functioning as a V7/IV in F major, what would its function be if it were reinterpreted as a Ger+6 to modulate to a new key?

According to Example 23-8, a diminished seventh chord consisting of the notes G-sharp, B, D, and F can resolve as a leading-tone chord to all of the following keys EXCEPT:

In the context of enharmonic modulation, what is the role of the It+6 (Italian augmented sixth) chord?

In the textural reduction of Schubert's String Trio (Example 23-3), the key of g-flat minor is notated as what key for convenience?

When the last chord of measure 145 in Beethoven's Piano Sonata (Example 23-10) is heard, it sounds like a vii-diminished-7/vi in F-sharp. How is it actually treated and notated?