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All variants of augmented sixth chords are closely related to the applied dominant V 7 of ♭ II. Both Italian and German variants are enharmonically identical to dominant seventh chords. For example, in the key of C, the German sixth chord could be reinterpreted as the applied dominant of D ♭.
In C major/minor, the German augmented sixth chord is an enharmonic A ♭ 7 chord, which could lead as a secondary dominant to D ♭, the Neapolitan key area. As the dominant to ♭ II, the A ♭ 7 chord can then be respelled as a German augmented sixth, resolving back to the home key of C major/minor.
The augmented sixth chord can either be the Italian sixth It +6, which is enharmonically equivalent to a dominant seventh chord without the fifth; the German sixth Gr +6, which is enharmonically equivalent to a dominant seventh chord with the fifth; or the French sixth Fr +6, which is enharmonically equivalent to the Lydian dominant without the ...
Augmented sixth Play ⓘ.. In music, an augmented sixth (Play ⓘ) is an interval produced by widening a major sixth by a chromatic semitone. [1] [4] For instance, the interval from C to A is a major sixth, nine semitones wide, and both the intervals from C ♭ to A, and from C to A ♯ are augmented sixths, spanning ten semitones.
Each of them has a major third and augmented sixth above the bass. When these are the only three notes present, the chord is an Italian sixth ; when an augmented fourth is added above the bass, the chord is a French sixth ; while adding a perfect fifth above the bass of an Italian sixth makes it a German sixth (the etymology of all these names ...
The Italian augmented 6th chord (It+6) is one example, from which proceed the French augmented 6th chord (Fr+6) and German augmented 6th chord (Gr+6) by addition of one note. Rawlins (2005) asserts that the notion derives from practice of such composers as Eric Satie , Claude Debussy , Maurice Ravel , and Gabriel Fauré , and was first used in ...
Pre-dominant harmonies include a wide variety of chords: IV, II, ♭ II, secondary (applied) dominants of the dominant (such as V 7 /V), and the various "augmented-sixth" chords. ... The modern North American adaptation of the function theory retains Riemann’s category of tonic and dominant functions but usually reconceptualizes his ...
At measure 16, the fortissimo marked climax of the piece begins, and ending by returning to the slow, chromatic motif. The piece makes it way down to the tonic, before aburuptly ending on a German augmented sixth in measure 23. The piece then closes on a perfect cadence in E minor.