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The result is a French sixth chord or minor seventh chord possibly posing as a virtual augmented sixth. From the French sixth chord (or minor seventh chord posing as augmented sixth), there exists a factor which, when lowered by semitone, gives a result equivalent to a half-diminished seventh chord possibly posing as a virtual augmented sixth.
Augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to modulate to another augmented triad in a key: a major third (M3 as root) or minor sixth (A5 as root) away. French augmented sixth (Fr+ 6) modulation is achieved similarly but by respelling both notes of either the top or bottom major third (i.e. root ...
The Tristan chord analyzed as a French sixth (in red) with appoggiatura and dominant seventh with passing tone in A minor. [ 6 ] The chord is an augmented sixth chord, specifically a French sixth chord , F–B–D ♯ -A, with the note G ♯ heard as an appoggiatura resolving to A. (Theorists debate the root of French sixth chords.)
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 addition, augmented sixth chords, some of which are enharmonic to dominant seventh chords, contain tritones spelled as augmented fourths (for example, the German sixth, from A to D ♯ in the key of A minor); the French sixth chord can be viewed as a superposition of two tritones a major second apart.
His take on the augmented sixth chords is based on a mixing of overtonal and reciprocal energy -- the (key of C) Ab being submediant to the tonic and the F# being the tonic's dominant-dominant-mediant (C-G-D-F#). The chords are thought to have an Ab root, but the French version especially makes as much sense as having a D root.
While used functionally as a pre-dominant chord in the classical period, late romantic composers saw the French sixth used as a dissonant and unstable chord. The chord can be built from the first, fourth, sixth and eighth degrees of the half-step/whole-step octatonic scale, and is transpositionally invariant about a tritone, a property somewhat ...
This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work) of which the synthetic chord can be seen as an extension. The example below shows the mystic chord rewritten as a French sixth with notes A and D as extensions: