CTM

9/26/23

Augmented Sixth Chords

⁃ Not an actual chord, just the interval between bass and soprano (one
semitone wider interval than a major 6th)
⁃ Both notes pulled toward the same note, but a semitone from the note in
different directions (e.g. F♮ and D♯)
⁃ Defined by the outward pull

Phrygian Half Cadence

⁃ Built on 6-5 in bass, where 6-5 is semitone descent
⁃ Harmonic progression = iv6-V
⁃ Named 'Phrygian' for 2-1 semitone in Phrygian mode

Derivation
⁃ Chord of augmented 6th can be seen to derive from Phrygian HC
⁃ ♭6 and #4 are both tendency tones: Each pulls to 5. Bass is semitone
above 5, soprano is semitone below

Three Types of Augmented-Sixth Chords:

Italian:
⁃ Harmonic: It6
⁃ Bass is a semitone above ^5; ^♭6 diatonic in minor keys, but in major
keys ^6 needs to be flat
⁃ One upper voice (usually soprano) a semitone below ^5
⁃ One upper voice with ^1
⁃ One voice has major ^3
⁃ Ascending: ♭6; 1; ♯4
French:
⁃ Harmonic: Fr4/3
⁃ Same as Italian in upper and lower voice
⁃ ^1 becomes ^2
German
⁃ Harmonic: Ger6/5
⁃ Same as Italian in upper and lower voice
⁃ ^1 becomes ^3

In C minor:
Italian French German
F♯-G F♯-G F♯-G
D-D E♭-D F-D
C-B C-B C-B
A♭-G A♭-G A♭-G

Writing Augmented Sixth Chords:

⁃ Never double ♯4 or ♭6
⁃ Move each voice to nearest note in next chord - Avoid parallel unisons
or octaves when resolving Italian 6ths
⁃ Augmented-sixth chords expected to lead to V
⁃ Resolve German sixth to cadential 6/4 to avoid parallel fifths
Uses:
⁃ Pre-dominant right before dominant
⁃ Most common in HC, but can be used in AC
⁃ Mostly used in minor keys; can be major keys if ^6 is lowered
⁃ Before aug-6th chord can be:
⁃ - Root position tonic
⁃ - Step-descent (usually in minor keys)
⁃ - Other PD