Types Augmented sixth chord

1 types

1.1 italian sixth
1.2 french sixth
1.3 german sixth
1.4 other variants

types

there 3 main types of augmented sixth chords, commonly known italian sixth, french sixth, , german sixth. though each named after european nationality, theorists disagree on precise origins , have struggled centuries define roots, , fit them conventional harmonic theory. according kostka , payne, other 2 terms similar italian sixth, which, has no historical authenticity-[being] convenient , traditional label.

italian sixth

the italian sixth moving v.  play (help·info)

the italian sixth (it or or ♯iv) derived iv altered fourth scale degree, ♯4: ♭6–1–♯4; a♭–c–f♯ in c major , c minor. augmented sixth chord comprising 3 distinct notes; in four-part writing, tonic pitch doubled.

the second movement of beethoven s piano sonata in f♯ major, op. 78, begins italian sixth chord.  play (help·info)

the italian sixth enharmonically equivalent incomplete dominant seventh.

french sixth

the french sixth chord; distinguishing tone highlighted in blue.  play (help·info)

the french sixth (fr or fr4

3) similar italian, additional tone, 2: ♭6–1–2–♯4; a♭–c–d–f♯ in c major , c minor. notes of french sixth chord contained within same whole tone scale, lending sonority common french music in 19th century (especially associated impressionist music).

this chord has same notes dominant seventh flat 5 chord, , in fact second inversion of 7♭5.

german sixth

german sixth in scott joplin s binks waltz (1905).  play (help·info)

the german sixth (gr or ger6

5) italian, added tone ♭3: ♭6–1–♭3–♯4; a♭–c–e♭–f♯ in c major , c minor. in classical music, however, appears in same places other variants, though perhaps less used because of contrapuntal difficulties outlined below. appears in works of beethoven, , in ragtime music. german sixth chord contains same notes or enharmonic dominant seventh chord (enharmonically ♯4 ♭5), though functions differently.

it more difficult avoid parallel fifths when resolving german sixth chord dominant, v. these parallel fifths, referred mozart fifths, accepted common practice composers. there 2 ways can avoided:

a german sixth chord michael haydn s requiem in c minor, first movement. ( listen)




other variants

other variants of augmented sixth chords can found in repertoire, , given whimsical geographical names. example: 4–♭6–7–♯2; (f–a♭–b–d♯) called 1 source australian sixth. such anomalies have alternative interpretations.

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