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The result is equivalently to a German sixth chord. From the German sixth chord, lower any factor by a semitone so that the result is ancohemitonic (i.e.: possesses no half steps). The result is a French sixth chord or minor seventh chord possibly posing as a virtual augmented sixth.
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 ...
In the era of meantone temperament, augmented sixth chords of the kind known as the German sixth (or the English sixth, depending on how it resolves) were close in tuning and sound to the 7-limit otonality, called the tetrad. This chord might be, for example, A ♭-C-E ♭-G ♭ [F ♯] Play ⓘ. Standing alone, it has something of the sound of ...
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 is unclear).
[1] [3] Irregular resolutions also include V 7 becoming an augmented sixth [specifically a German sixth] through enharmonic equivalence [1] or in other words (and the adjacent image) resolving to the I chord in the key the augmented sixth chord (FACD ♯) would be in (A) rather than the key the dominant seventh (FACE ♭) would be in (B ♭).
The most common dominant preparation chords are the supertonic, the subdominant, the V7/V, the Neapolitan chord (N 6 or ♭ II 6), and the augmented sixth chords (e.g., Fr +6). The circle progression features a series of chords derived from the circle of fifths preceding the dominant and tonic.
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 ...