Augmented Sixth Chords

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LearnMusicTheory.net 3.6 Augmented Sixth Chords Augmented Sixth Chords (+6 chords) # +6 1. +6 chords are based on resolving to an octave by half steps in contrary motion. 8ve 2. The +6 is usually between the lowered sixth scale step (already lowered in minor keys) and the raised fourth scale step. b 3. Inversions are not notated on +6 chords, but some authors use "°3" if the +6 interval is inverted. 3. There are three main types of +6 chords: Italian, French, and German. Most Common Types 1. Italian +6 (It+6) 2. French +6 (Fr+6) 3. German +6 (Ger+6) +6 plus M3 = It+6 It+6 plus M2 = Fr+6 It+6 plus m3 = Ger+6 above above "center note" "center note" Part-writing +6 Chords 1. For It+6, double the note that is not part of the +6 interval. Fr+6 and Ger+6 have 4 different notes. 2. The raised fourth scale step resolves up a half step. 3. The lowered sixth scale step resolves down a half step. 4. Ger+6 chords often resolve to a cadential 6/4 chord before V, to avoid parallel fifths. Italian +6: French +6: German +6: +4 M2 m3 +6 +6 +6 M3 6 6 6 6 C: It+ V C: Fr+ V c: Ger+ cad4 V V Part-writing +6 to V7: The "SLIDE" When any +6 chord resolves to V7, the raised fourth scale degree "slides" down to become the 7th of the V7 chord. # 7th "SLIDE" C: Fr+ 6 V7 Other +6 Chords and Resolutions (Less Common) 1. A note other than the lowered sixth step of the scale may be in the bass (order of parts rearranged). 2. The +6 interval may resolve to the root of a chord other than V. In this case, you label it as "+6/x" where x is the roman numeral for the step of the scale to which the +6 interval resolves. 3. The +6 interval may resolve to the third or fifth of a chord instead of its root. 4. Some +6 chords contain notes other than a M2 or m3 above the "center note." 5. Swiss+6 = A Ger+6 chord in a major key spelled with an aug. 2nd (not m3) above the "center note." Copyright © 2010 by Mark Feezell. All Rights Reserved..

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Common Jazz Chord Symbols Here I Use the More Explicit Abbreviation 'Maj7' for Major Seventh
Common jazz chord symbols Here I use the more explicit abbreviation 'maj7' for major seventh. Other common abbreviations include: C² C²7 CMA7 and CM7. Here I use the abbreviation 'm7' for minor seventh. Other common abbreviations include: C- C-7 Cmi7 and Cmin7. The variations given for Major 6th, Major 7th, Dominant 7th, basic altered dominant and minor 7th chords in the first five systems are essentially interchangeable, in other words, the 'color tones' shown added to these chords (9 and 13 on major and dominant seventh chords, 9, 13 and 11 on minor seventh chords) are commonly added even when not included in a chord symbol. For example, a chord notated Cmaj7 is often played with an added 6th and/or 9th, etc. Note that the 11th is not one of the basic color tones added to major and dominant 7th chords. Only #11 is added to these chords, which implies a different scale (lydian rather than major on maj7, lydian dominant rather than the 'seventh scale' on dominant 7th chords.) Although color tones above the seventh are sometimes added to the m7b5 chord, this chord is shown here without color tones, as it is often played without them, especially when a more basic approach is being taken to the minor ii-V-I. Note that the abbreviations Cmaj9, Cmaj13, C9, C13, Cm9 and Cm13 imply that the seventh is included. Major triad Major 6th chords C C6 C% w ww & w w w Major 7th chords (basic structure: root, 3rd, 5th and 7th of root's major scale) 4 CŒ„Š7 CŒ„Š9 CŒ„Š13 w w w w & w w w Dominant seventh chords (basic structure: root, 3rd, 5th and b7 of root's major scale) 7 C7 C9 C13 w bw bw bw & w w w basic altered dominant 7th chords 10 C7(b9) C7(#5) (aka C7+5 or C+7) C7[äÁ] bbw bw b bw & w # w # w Minor 7 flat 5, aka 'half diminished' fully diminished Minor seventh chords (root, b3, b5, b7).
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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 3 0 0 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9401386 Enharmonicism in theory and practice in 18 th-century music Telesco, Paula Jean, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Telesco, Paula Jean.
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