Augmented Sixth Chords in Context

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Hector Knight
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1 Augmented Sixth Chords in Context CHAPTER 0 SUPPLEMENTARY MATERIAL PRACTICE: Analyze Chords Provide a roman numeral analysis for each of the folloing chords in the indicated key All types of chromatic chords ill e possile n n n D major: A@ major: B minor: A minor: B major: n n n n B@ major: C minor: F minor: D minor: D@ major: n n C@ major: G minor: D minor: G major: B@ minor: n n n n n F major: E@ major: F minor: A major: G minor: n F major: A@ major: B major: G major: E@ major: 117

2 CHAPTER 0 Augmented Sixth Chords in Context 118 PRACTICE: Spell Chords Spell the folloing augmented sixth chords, starting each ith the loered sixth scale degree of the indicated key German 6th in E major French 6th in B@ major Italian 6th in A minor German 6th in C major Enharmonic German 6th in C major French 6th in D minor German 6th in B major Italian 6th in F minor German 6th in G major Italian 6th in D@ major French 6th in B minor Enharmonic German 6th in F major Italian 6th in A major German 6th in E minor French 6th in F major German 6th in C minor Enharmonic German 6th in B minor Italian 6th in G minor German 6th in A@ minor French 6th in C major Italian 6th in G minor German 6th in B@ minor

3 CHAPTER 0 Augmented Sixth Chords in Context 119 Music for Analysis The folloing -page example demonstrates a variety of altered chords and modulation techniques Provide a roman numeral analysis and lael all nonharmonic tones Franz Schuert, Piano Sonata, op 2, 1st movement, mm 1 90 C C 6 12 Moderato 18 2 n j j n n j J Ó j n

4 CHAPTER 0 Augmented Sixth Chords in Context n n n j J nn j > n n > n n

5 CHAPTER 0 Augmented Sixth Chords in Context Ó Ó 66 J J j j > n > n j j > U Ó Ó U

6 CHAPTER 0 Augmented Sixth Chords in Context 122 The Enharmonic German Sixth Chord The folloing to figures demonstrate a German sixth chord in a major key resolving to a tonic six-four chord In the first figure, the chord is spelled as a traditional German sixth The F$ is a loered scale degree in the key of D major and should resolve don Hoever, the susequent tonic six-four forces it to move upard, creating incorrect voice leading The second figure shos the German sixth respelled, replacing the F$ ith an E These to notes are enharmonically equivalent Hoever, the E creates etter voice leading, since it has a tendency to resolve upard n 6 6 n / 5 / 6 6 / incorrect voice leading correct voice leading The next figures present the same progression in B@ major The first of the to figures is spelled as a traditional German sixth ith the resulting incorrect voice leading In the second figure, the augmented sixth chord is missing Respell the missing chord so that it ecomes an enharmonic German sixth ith proper voice leading n / n

7 CHAPTER 0 Augmented Sixth Chords in Context 12 Keyoard Exercises Suggested keys: D major do do do do ti do A@ major G@ major I vi It 6 I 6 V I Suggested keys: D minor re me me me me re do B@ minor C minor V i vii 6 5 Gr 6 i 6 V i V n n n Suggested keys: E minor sol la fa fi sol sol E@ minor F minor I vi ii ø6 5 B Fr 6 V i

Adding a diatonic seventh to a diminished leading-tone triad in minor will result in the following sonority:

Adding a diatonic seventh to a diminished leading-tone triad in minor will result in the following sonority: Lesson PPP: Fully-Diminished Seventh Chords Introduction: In Lesson 6 we looked at the diminished leading-tone triad: vii o. There, we discussed why the tritone between the root and fifth of the chord