| Construct a Fr+6 in C Major |
|
| The French sixth (Fr + 6 or Fr[image]) is similar to the Italian, but with an additional tone, 2: ♭6, 1, 2, ♯4; A♭–C-D–F♯ in C major. This chord is called "French" because its notes are all contained within the same whole tone scale, lending a sonority common to French music in the 19th century. |
|
| how does the interval of an augmented sixth normally resolve? |
|
| The interval of an augmented sixth normally resolves outwards by semitone to an octave. |
|
| The Italian sixth (It + 6 or It6) is derived from which chord? |
|
| is derived from iv6 with an altered fourth scale degree |
|
| Construct an Italian Augmented Sixth chord in the key of C Major |
|
| ♭6, 1 and #4; A♭–C–F♯ in C major |
|
| Which Augmented 6 chord is the only augmented sixth chord consisting of just three different notes? |
|
|
It+6
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
This is the only augmented sixth chord comprising just three distinct notes; in four-part writing, 1 is usually doubled, because it is the only stable member of the chord.
|
|
| Notate a Fr+6 moving to a V chord in the key of C |
|
|
| Notate an It+6 moving to a V chord in the key of C |
|
|
| Notate a Ger+6 moving to a V chord in the key of C |
|
|
| What are the notes of the Ger+6 in C Major |
|
| The German sixth (Gr + 6 or Ger[image]) is also like the Italian, but with an added tone ♭3: ♭6, 1, ♭3, ♯4; A♭–C-E♭–F♯ in C major |
|
| How to avoid parallel fifths in Ger+6 resolution/use |
|
|
It is more difficult to avoid parallel fifths when resolving a German sixth chord to the dominant, V. These parallel fifths, referred to as Mozart fifths, were occasionally accepted by common practice composers. There are two ways they can be avoided:
- The ♭3 can move to either 1 or 2, thereby generating a Italian or French sixth, respectively, and eliminating the perfect fifth between ♭6 and ♭3.[6]
- The chord can resolve to a "six-four" chord, functionally either as a cadential six-four intensification of V, or as the second inversion of I; the cadential six-four, in turn, resolves to a root-position V. This progression ensures that, in its voice leading, each pair of voices moves either by oblique motion or contrary motion and avoids parallel motion altogether. In minor modes, both 1 and ♭3 do not move during the resolution of the German sixth to the cadential six-four. In major modes, ♭3 can be enharmonically respelled as ♯2 if it resolves upwards to ♮3, similar in voice leading to the resolution of French sixth to the cadential six-four. This respelled chord is sometimes referred to as the English, Swiss or Alsatian sixth chord.[7]
|
|
Enharmonic equivalency of the French sixth (as in how to use it as a point of modulation)
|
|
|
The French sixth has two characteristics in common with the diminished seventh chord:
- Both chords are constructed of two superimposed tritones; in the French sixth, between ♭6–2 and 1–♯4. Thus, both have inversional symmetry;
- Both are enharmonically equivalent at the tritone; i.e., both chords transposed up or down a tritone will result in the same pitches as the original.
As with the diminished seventh chord, the latter property allows the chord to be used in modulating to very remote keys. For instance, ♭6, 1, 2, ♯4 could be reinterpreted as 2, ♯4, ♯5, ♯7, i.e., the French sixth of the ♯IV key area, displaced an interval of a tritone relative to the tonic key, I.
|
|
| both Italian and German variants are enharmonically identical to _____ |
|
| the applied dominant V7 of ♭II |
|
| in the key of C, the German sixth chord, A♭–C-E♭-F♯, could be reinterpreted as ______ |
|
| A♭-C-E♭–G♭, the applied dominant of D♭. |
|
| French +6 can be used as a Lydian dom… describe. |
|
|
In jazz, the French sixth sonority functions as a dominant instead of a predominant chord; exploiting the enharmonically equivalent property of the French sixth is a common technique is referred to as tritone substitution.
The French sixth sonority, for example A♭, C, D, F♯ in the key of C, is interpreted as a specific variation of a dominant seventh chord in the following keys:
- V7 of D♭ with ♯4; A♭ as the root: A♭, C, D, G♭; or
- V7 of G with ♯4; D as the root: D, F♯, G♯, C.
This chord is called the Lydian dominant (A♭7♯11, D7♯11).
|
|
| In a Don Black 4-part, there is an Aug 6 chord whenever there is a ___ quality chord with ___ where? |
|
|
| Aug 6 chords originate from a ___ cadence |
|
|
|
|
|
|
|
|
| Two ways to double the fifth: |
|
|
| 4 steps to create an aug 6 chord: |
|
|
1) Le in the bass (don’t forget accidental in Major key!)
2) Fi (can go anywhere in chord)
3) Tonic (anywhere in chord)
4); Customize:
- It: double tonic
- Fr: re
- Ger: me (yes b3 in major)
|
|
| We will not use a ___ in Mr. Black’s 4-parts |
|
|
|
How to Resolve:
- le to ___
- fi to ___
- other two notes decide whether it’s going to ___ or ___
|
|
|
| As a pivot chord, the Aug 6 chord will be ___ in one key and ___ in another key |
|
| Aug 6 chord; any sec. dom. |
|