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Augmented sixth chord

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The interval of an augmented sixth normally resolves outwards by semitone to an


octave. Play (helpinfo)

The three most common augmented sixth chords in the tonalities of C major and C
minor: Italian sixth, French sixth, and German sixth.
In music theory, an augmented sixth chord contains the interval of an augmented
sixth, usually above its bass tone. This chord has its origins in the Renaissance,[1] further
developed in the Baroque, and became a distinctive part of the musical style of the
Classical and Romantic periods.[2] Conventionally used with a predominant function
(resolving to the dominant), the three more common types of augmented sixth chords
are usually called Italian sixth, French sixth, and German sixth.

Contents
[hide]

1 Resolution and chord construction


o 1.1 Double-diminished triad

2 Types
o 2.1 Italian sixth
o 2.2 French sixth
o 2.3 German sixth

o 2.4 Other variants

3 Relationship between the various types of augmented 6th chords


o 3.1 Half-diminished seventh as virtual +6 chord
o 3.2 Minor seventh as virtual +6 chord

4 Standard harmonic function

5 Root position and inversion of augmented sixth chords

6 Extended functions
o 6.1 Augmented sixth chords as altered dominant chords with flattened
2nd degree
o 6.2 Enharmonicity to other chords

6.2.1 Enharmonic equivalency of the French sixth

o 6.3 Dominant functions

7 Tristan chord

8 See also

9 Notes

10 References

11 Books

Resolution and chord construction[edit]


The augmented sixth interval is typically between the sixth degree of the minor scale
(henceforth 6) and the raised fourth degree (henceforth 4). With standard voice
leading, the chord is followed directly or indirectly by some form of the dominant
chord, in which both 6 and 4 have resolved to the fifth scale degree (henceforth 5).
This tendency to resolve outwards to 5 is why the interval is spelled as an augmented
sixth, rather than enharmonically as a minor seventh (6 and 5). Although augmented
sixth chords are more common in the minor mode, they are also used in the major mode
by borrowing 6 of the parallel minor scale.[3]

Double-diminished triad[edit]
In music theory, the double-diminished triad is an archaic concept and term referring to
a triad, or three note chord, which, already being minor, has its root raised a semitone,

making it doubly diminished. However, this may be used as the derivation of the
augmented sixth chord.[4]
For example, F-A-C is a minor triad. F-A-C is a doubly diminished triad. Note that it
is enharmonically equivalent to G-A-C (incomplete dominant seventh [missing E]),
the tritone substitute resolving to G. Its inversion, A-C-F, is the Italian augmented
sixth chord resolving to G.

Types[edit]
There are three main types of augmented sixth chords, commonly known as Italian
sixth, French sixth, and German sixth. Though each is named after a European
nationality, theorists disagree on their precise origins and have struggled for centuries to
define their roots, and fit them into conventional harmonic theory.[3][5][6] According to
Kosta & Payne, the other two terms are similar to the Italian sixth, which, "has no
historical authenticity-[being] simply a convenient and traditional label."[7]

Italian sixth[edit]

The Italian sixth moving to V.

Play (helpinfo)

The Italian sixth (It or It ) is derived from iv with an altered fourth scale degree,
4: 614; ACF in C major and C minor. This is the only augmented sixth
chord comprising just three distinct notes; in four-part writing, the tonic pitch is
doubled.

The second movement of Beethoven's piano sonata in F-sharp major, op. 78, begins
with an Italian sixth chord. Play (helpinfo)
The Italian sixth is enharmonically equivalent to an incomplete dominant seventh.[8]

French sixth[edit]

The French sixth chord; the distinguishing tone is highlighted in blue.

Play (helpinfo)

The French sixth (Fr or Fr ) is similar to the Italian, but with an additional tone, 2:
6124; ACDF in C major and C minor. The notes of the French sixth
chord are all contained within the same whole tone scale, lending a sonority common to
French music in the 19th century (especially associated with Impressionist music).[9]

German sixth[edit]
The German sixth (Gr or Ger ) is also like the Italian, but with an added tone 3:
6134; ACEF in C major and C minor. In Classical music,
however, it appears in much the same places as the other variants, though perhaps less
used because of the contrapuntal difficulties outlined below. It appears frequently in the
works of Beethoven.[a] The German sixth chord contains the same notes as a dominant
seventh chord (enharmonically), though it functions differently.
It is more difficult to avoid parallel fifths when resolving a German sixth chord to the
dominant, V. These parallel fifths, referred to as Mozart fifths, were occasionally
accepted by common practice composers. There are two ways they can be avoided:
1. The 3 can move to either 1 or 2, thereby generating an Italian or French sixth,
respectively, and eliminating the perfect fifth between 6 and 3.[10]
2. The chord can resolve to a "six-four" chord, functionally either as a cadential
six-four intensification of V, or as the second inversion of I; the cadential sixfour, in turn, resolves to a root-position V. This progression ensures that, in its
voice leading, each pair of voices moves either by oblique motion or contrary
motion and avoids parallel motion altogether. In minor modes, both 1 and 3 do
not move during the resolution of the German sixth to the cadential six-four. In
major modes, 3 can be enharmonically respelled as 2 if it resolves upwards to
3, similar in voice leading to the resolution of French sixth to the cadential sixfour. This respelled chord is sometimes referred to as the English, Swiss or
Alsatian sixth chord,[citation needed] or as a "'doubly augmented sixth chord"',[citation needed]
as it contains two augmented intervals. However, other sources describe it as a
German sixth, such as Grove.[11]

German sixth chord respelled


The German sixth; the The German sixth is typically with doubly augmented fourth
distinguishing tone is followed by a I chord to avoid (highlighted in blue) for voicehighlighted in blue.
parallel fifths. Play (helpinfo) leading purposes. Also referred
Play (helpinfo)
to as English, Swiss or
Alsatian.

A German sixth chord from Michael Haydn's Requiem in C minor, first movement. (
Listen)

Other variants[edit]
Other variants of augmented sixth chords are sometimes found in the repertoire, and are
sometimes given whimsical geographical names. For example: 4672; (FA
BD) is called by one source an Australian sixth.[12] Such anomalies usually have
alternative interpretations.

Relationship between the various types of augmented


6th chords[edit]
The following "curious chromatic sequence",[13] graphed in Tymoczko (2011) as a 4dimensional tesseract,[14] outlines the relationships between the augmented sixth chords
in 12TET tuning:

A tesseract. The diminished seventh chords occupy points on two diagonally opposite
corners.

Starting with a diminished seventh chord, lower any factor by semitone. The
result is equivalently a German sixth chord.

From the German sixth chord, lower any factor by semitone so that the result is
ancohemitonic (i.e.: possesses no halfsteps). The result is a French sixth chord or
minor seventh chord possibly posing as augmented 6th.

From the French sixth chord or minor seventh chord possibly posing as
augmented 6th, there exists a factor which, when lowered by semitone, gives a
result equivalently a half-diminished seventh chord possibly posing as
augmented 6th.

From the half-diminished seventh chord possibly posing as augmented 6th, there
exists a factor which, when lowered by semitone, gives a result equivalently a
diminished seventh chord at the interval 1 semitone lower than the diminished
seventh chord which started the sequence.

Three repetitions of the above complete the cycle in modulo-12 note space,
forming a necklace of three tesseracts joined at opposite corners by diminished
seventh chords and subsuming all 12 notes of the chromatic scale.

Half-diminished seventh as virtual +6 chord[edit]


The half-diminished seventh chord is the involution of the German augmented sixth
chord.[15] Its interval of minor seventh (between root and seventh degree, i.e.: { C B } in
{ C E G B } ) can be written as an augmented sixth { C E G A }.[16] Rearranging
and transposing, this gives { A C D F }, a virtual minor version of the French
augmented sixth chord.[17][need quotation to verify] Like the typical +6, this enharmonic interpretation
gives on a resolution irregular for the half-diminished seventh but normal for the
augmented sixth, where the 2 voices at the enharmonic major second converge to unison
or diverge to octave.[18]

Minor seventh as virtual +6 chord[edit]

The minor seventh chord may also have its interval of minor seventh (between root and
seventh degree, i.e.: { C B } in { C E G B } ) rewritten as an augmented sixth { C E
G A }.[16] Rearranging and transposing, this gives { A C E F }, a virtual minor
version of the German augmented sixth chord.[19] Again like the typical +6, this
enharmonic interpretation gives on a resolution irregular for the minor seventh but
normal for the augmented sixth, where the 2 voices at the enharmonic major second
converge to unison or diverge to octave.[18]

Standard harmonic function[edit]


One way to emphasize a tone is to approach it by a half step, either from above or from
below. ... Approaching the dominant by half steps from above and below at the same
time makes for an even stronger approach to the dominant... The two approaching tones
form a vertical interval of an augmented 6th. This method of approaching the dominant
distinguishes a whole category of chords called augmented sixth chords.[20]
From the Baroque to the Romantic period, augmented sixth chords have had the same
harmonic function: as a chromatically altered predominant chord (typically, an
alteration of ii , IV , vi7 or their parallel equivalents in the minor mode) leading to a
dominant chord. This movement to the dominant is heightened by the semitonal
resolution of both 6 to 5 and 4 to 5; essentially, these two notes act as leading-tones.
This characteristic has led many analysts[21] to compare the voice leading of augmented
sixth chords to the secondary dominant V of V because of the presence of 4, the
leading-tone of V, in both chords. In the major mode, the chromatic voice leading is
more pronounced because of the presence of two chromatically altered notes, 6, as well
as 4, rather than just 4 in the minor mode.
In most occasions, the augmented-sixth chords precede either the dominant, or the tonic
in second inversion.[8] The augmented sixths can be treated as chromatically altered
passing chords.[8]

Root position and inversion of augmented sixth


chords[edit]
Augmented sixth chords are occasionally used with a different chord member in the
bass. Since there is no consensus among theorists that they are in root position in their
normal form, the word "inversion" isn't necessarily accurate, but is found in some
textbooks, nonetheless. Sometimes, "inverted" augmented sixth chords occur as a
product of voice leading.
Rousseau considered that the chord could not be inverted.[22] 17th century instances of
the augmented sixth with the sharp note in the bass are generally limited to German
sources.[23]

Excerpt from Bach's Mass in B minor. At the end of the second measure, the augmented
sixth is inverted to create a diminished third or tenth between the bass and the soprano
(CE); these two voices resolve inward to an octave Play (helpinfo)

Root positions of the augmented sixth chords in the tonality of C, according to Simon
Sechter.[24]
Simon Sechter explains the chord of the French Sixth as being a chromatically altered
version of a seventh chord on the second degree of the scale. The German Sixth is
explained as a chromatically altered ninth chord on the same root, but with the root
omitted.[24]
The tendency of the interval of the augmented sixth to resolve outwards is therefore
explained by the fact that the A, being a dissonant note, a diminished fifth above the
root (D), and flatted, must fall, whilst the F - being chromatically raised - must rise.

Extended functions[edit]
In the late Romantic period and other musical traditions, especially jazz, other harmonic
possibilities of augmented sixth variants and sonorities outside its function as a
predominant were explored, exploiting their particular properties. An example of this is
through the "reinterpretation" of the harmonic function of a chord: Since a chord could
simultaneously have more than one enharmonic spelling with different functions (i.e.,
both predominant as a German sixth and dominant as a dominant seventh), its function
could be reinterpreted mid-phrase. This heightens both chromaticism by making
possible the tonicization of remote keys, and possible dissonances with the juxtaposition
of remotely related keys.

Augmented sixth chords as altered dominant chords with flattened 2nd


degree[edit]
See also: tritone substitution
The augmented sixth chord may be built on notes other than 6.
Tchaikovsky considered the augmented sixth chords as being altered dominants.[25] He
described the augmented sixth chords as inversions of the diminished triad and of
dominant and diminished seventh chords with the second degree chromatically lowered,
and accordingly resolving into the tonic. He notes that, "some theorists insist upon
[augmented sixth chord's] resolution not into the tonic but into the dominant triad, and
regard them as being erected not on the altered 2-nd degree, but on the altered 6-th
degree in major and on the natural 6-th degree in minor", yet calls this view,
"fallacious", insisting that a, "chord of the augmented sixth on the 6-th degree is nothing
else than a modulatory degression into the key of the dominant".[26]

Augmented sixths as dominants in the tonality of C, according to Tchaikovsky. Notice


the early resolution of an inner voice to avoid parallel fifths in the last example.[26]

An Italian sixth chord built on scale degree 2. Here the Italian sixth chord functions as
a substitute for the dominant, with which it shares the third and seventh. Schubert's A
major sonata, D. 959. Play (helpinfo)
Classical harmonic theory would notate the "tritone substitute" as an augmented sixth
chord on 2. The Augmented sixth chord can either be the It+6 enharmonic to a dominant
7th chord without the 5th, Gr+6, enharmonically equivalent to a dominant 7th chord with
the 5th, or Fr+6 enharmonically equivalent to the Lydian dominant without the 5th, all of
which serve in a classical context as a substitute for the secondary dominant of V.[27][28]

Original dominant 7th-tonic progression Play (helpinfo), tritone substitution (V7/V-I)


Play (helpinfo), augmented sixth chord (It6-I) Play (helpinfo).

Enharmonicity to other chords[edit]


Enharmonic equivalency of the French sixth[edit]
This section needs additional citations for verification. Please help
improve this article by adding citations to reliable sources. Unsourced
material may be challenged and removed. (March 2014)
The French sixth has two characteristics in common with the diminished seventh chord:
1. Both chords are constructed of two superimposed tritones; in the French sixth,
between 62 (AD) and 14 (CF). Thus, both have inversional
symmetry;
2. Both are enharmonically equivalent at the tritone; i.e., both chords transposed up
or down a tritone will result in the same pitches as the original.
As with the diminished seventh chord, the latter property allows the chord to be used in
modulating to very remote keys. For instance: 6124; (ACDF in C),
could be interpreted identically in F if reordered and respelled as DFGB,
i.e., the French sixth of the IV key area, displaced an interval of a tritone relative to the
tonic key, I.

Dominant functions[edit]

German sixth, A-C-D-F, and equivalent


dominant seventh, A-C-E-G[29]
Play (helpinfo)

Irregular resolution through augmented


sixth equivalence Play (helpinfo).[30]

All variants of augmented sixth chords are closely related to the applied dominant V7 of
II; both Italian and German variants are enharmonically identical to dominant seventh
chords. For example, in the key of C (I), the German sixth chord, ACEF,
could be reinterpreted as ACEG, the applied dominant of D (V/D).

Tristan chord[edit]
Main article: Tristan chord

Richard Wagner's Tristan chord (indicated below with Tr) from the opening of his
opera, Tristan und Isolde, can be interpreted as a half-diminished seventh that
transitions to a French sixth in the key of A minor (F-A-B-D). The upper voice
continues upward with a long appoggiatura (G to A). Note that the D resolves
downwards to D instead of E:

Tristan chord analyzed as a French sixth with appoggiatura and dominant seventh with
passing tone in A minor [31]
This may be a result of eliding the downward resolution in order to make another
French sixth (E-G-A-D) which incidentally shares three notes with the dominant of
the excerpt.[original research?]

See also[edit]

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