So, in the same piece for which I asked about how to notate my 2 layered staccato, I'm halfway through writing the piece and I feel like I want to modulate again. Here are my modulations so far:

> 
> E minor -> G major -> A minor -> E minor
> 
> 
> 

The G major modulation was hinted at in the lament bass progression I used in the B section where the harmony moved from B major to G major(third moving to fourth via contrary motion) on every repeat of the lament bass. I used this lament bass to keep an E minor feel for a while longer while also hinting at the G major to come. The A minor and E minor modulations were both done via a chord progression that involved some mediant relations. 

Now, all of those keys are closely related. I'm thinking of moving to a more distantly related key for some added drama. Most common key for me to modulate to for dramatic purposes is C minor. I don't know why, maybe I just like the sound of C minor more. Let's say that I do want to modulate to C minor. I have modulated to this key in oh, so many ways, with these just being a few:

* Secondary dominant
* Circle of Fifths Progression
* Out of the blue diminished seventh
* Modulation chain

I could just do one of these, but I'm feeling a bit adventurous with this piece. I'm thinking of using an augmented chord. I have literally never used an augmented chord in my compositions. I know that the most common usage of augmented chords is as a passing chord. But no reason that it can't be used to modulate. I'm thinking of perhaps doing this:

> 
> Em -> B7 -> B+ -> Cm -> B°7 -> Cm
> 
> 
> 

Where the B+ moves to Cm and the B°7 confirms the modulation.

**Would this work, using an augmented triad as a chromatically altered dominant chord that then resolves to the minor chord a half step up from it to modulate to a distant key(Em -> Cm is 4 steps distance on the circle of fifths)?**