I have a class that doesnt actually teach me how to do this stuff haha they just expect us to read a text book and magically understand it. This solved 30hours of confusion in 7min. Thanks!
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I have a masters in music, and this channel is something I would have killed to know about in my undergrad. This is the best theory channel I have ever seen.
Thank you. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I’m just an old guy who has always loved writing music. I wish I had met Mr. Green 50 years ago. I have learned more in the last year than in the previous 60. I actually call myself an Amateur composer. With a straight face!
An interesting way to think about the German 6th is that it is the tritone substitution of the II7 chord, which could be used to resolve to a V7 chord, but that's more of a jazz harmony thing.
To understand this properly though, one needs to understand that an augmented 6th above the A flat is f sharp & 10 half steps or semitones above the A flat.
You explain this expertly; far better than my professor (who has found it in himself to complicate it to no end). Thank you for making me ENJOY these wonderful chords rather than dread them!!
Thanks for breaking this down. Others on RUclips have given some explanations of this, but I can wrap my head around this much better with your description.
I just wanted to say thank you so much for these videos! I am recently taking up again music and i just wanted to remember some things to get on track. I just watched your video about Harmony, and let me tell you that you explained it better, clear and faster than my conservatory professor did in a year. Keep this great videos coming!!! PS sorry if i wrote something wrong, i hope my message is clear enough :D
Great lesson! Thank you. Ive played and studied these chords for years but never understood them. When you pointed out that these chords are chromatic chords...the light came on upstairs. The connection you made, in my mind, is that these chords are basically chromatic mediant chords. I was always thinking of them as secondary dominants so it didn't add up and they confused me. Chromatic chords explains everything thank you.
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I’ve been battling with TCL’s somewhat confusing explanations on this. This was incredibly useful! Thanks so much, and you’re now my go-to for anything related to theory!
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Amazing lesson!!! One of the best videos, perhaps THE best out there, about these amazing chords! And your teaching is amzing too, right to the point and very well presented!!!
That’s really kind. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
another super clear explanation from you. I arrived here after discussing the last movement of Mozart's 24th Concerto with a freind and he said that the last movement has great examples of Aug 6th harmony (which indeed it does!)
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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Thank you so much!! I have my first undergrad theory exam next week for the tonality module we did throughout first semester. I just watched your video on dim 7s and now onto augmented 6ths as I realised I just did not know the difference between the three types. This was so helpful 😄
Thank you so much on your help with this. This is much easier for a jazz or rock musician to understand and apply when its relationship to b6 Dom 7ths as you did (and the added color tones), the the movement to the V and the I. I'll have to think about minor Aug 6ths from this same perspective
Great explanation, as all videos I've seen so far are. Some of them I've revisited a few times already. Certainly going to sign up for a plan or course on their website later this year when I'll have more time on my hands.
I'm paying close attention to the finger pattern, but this is beyond my pay grade....for now. But your videos present complex musical ideas in simple ways, so that when I'm ready to add this to my repertoire, I'll be prepared. Merci.
Totally got it now, cheers for that. I can't quit my brain from hearing Ab7 though. So I hear tritone sub of V of V --> V --> I. But this was fuzzy and you've completely cleared it up for me. Thanks again.
That’s great. The important thing is context. Hear the chord followed by the resolution chord then you won’t hear it as V7. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
they're hendrix chord that being modified (without the #9, sometimes plus #4), or tritone substitution for pre dominant chord, which you can also play G#m7b5 for the tonic C.
Maestro: This is teaching! In the time set 6:27 when you have the German Augmented 6th you state you can go from the Augmented 6th Chord to the V Chord (Question? is this the bE Flat V Chord?) You explained that you will end up with Parallel 5th's (bA Note and bE are 5th's) I am not a music genius like you so from the German Augmented 6th Chord do we go to bE 5th Chord or the C Major Chord G B D F?You state that it is better to go from the German Augmented 6th to the 1C (Question? is that the first inversion of the C Chord (EGC) and then to the V Chord (GBDF). Will you please "squeeze" a second to explain. Again, thank you much, indeed, for your time, kindness for your video.Respects,R
lc is a second inversion chord. So in C Major it’s CEG but with G as the lowest note. Chord V in C Major is GBD. The German 6th can progress to either of these chords.
Thankyou for making this so easy to understand . Your teaching is so helpful . Is the German Augmented 6th the only one you can use for modulation into other keys or can the others be used aswell say to G Major or A Major using the F Sharp and Ab as G Sharp respectively Many thanks
One thing I find helpful is to think of the scale degrees. So with the french chord, instead of speaking of adding an augmented fourth on top of the augmented sixth, think of adding the supertonic (2nd scale degree).
Hi Gareth, Thank you very much for your excellent video, once more clear, concise and very helpful. Also, I was wondering if you could clear something up for me? If I was in the key of Eb Major and I played the following chord: Cb Eb F# A resolving to a second inversion of the tonic chord of Eb, could this be interpreted as a German Sixth chord? I understand that the German Sixth contains a perfect fifth, but in this example the interval from the bass Cb to F# is actually a doubly augmented 4th. How important is the spelling of this chord and what are the consequences of using enharmonic versions for the identity and functionality of the chord in question? Many thanks for any help you might be able to give me.
The F# should be written as a Gb to be an authentic German 6th but you can alter enharmonics to create other possibilities and that’s something that makes Augmented 6th chords flexible.
Great explanation, can I ask why the F# above the Ab is called an augmented 6th and not a minor 7th? Is it because the assumed scale belonging to the Ab would have a major 7th? Cheers 😊
In modern harmony context, the augmented 6th (based of Classical Harmony) is equivalent to the modern Substitute Dominant of G7. Thus, the French Augmented 6th based on Db is equivalent to the
Hello Gareth. Crystal-clear as usual, thanks a lot. What about placing a natural E in there? As in Ab / C / E / F#. What nationality would that aug 6 be? I'm Italian so I'm OK already, so let's call it the British aug 6 in your honour! Cheers
@@MusicMattersGB I looked up un Wikipedia, all languages available for the aug 6 chord, and managed to find Swiss, Australian and Japanese versions, but none of them is the note pattern I called British. That's quite curious, because I can't think of any other harmonic syntagma with those four notes. Wikipedia English even mentions the Tristan-accord under the aug 6 article, but I think it's quite far-fetched. What do you think Gareth? Shall we really introduce the British aug 6? I'll immediately write a chorale with it! 😊 😅
Crystal clear explanations, you're a great teacher thanks a lot for this video ! Just one question, is the neapolitan sixth related to any of these sixths as well ?
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Wonderfully explained every chord. Sir just a query again. How to resolve it...i mean is it compulsory to resolve each note step by step or we can arrange in any order we like to do in SATB into chord 5???
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I'm from Ukraine. We don't use Italian chord at all, but French and German chords is widely used, but named DD chord (dominant to dominat), also German named «pseudoD7» and uses before dominant chord, usually D7
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Simple concise video. I am still not sure why these are called augmented 6th chords. I always referred to these generically as #Dom7 (or bII7/V). Basically a Phrygian cadence to the V (assuming that is the path you take). Adding the ^2 creates an added tension to the Phrygian cadence in this context (it creates an additional tritone tension). I guess my confusion is just in the naming convention. Does augmented refer to the 5th degree? I think it has something to do with this actually being an altered borrowed chord from the parallel minor scale -> bVI7 (the flat 3rd is a clue). Thus the 6th of the 6th degree chord in context of the parallel minor being augmented. But why was it ever refereed to this way? Was there typically modulation to the parallel minor and this was a means to modulate back to the parallel major in a sneaky fashion? I know I am overthinking here. But just another digression. Just seems a weird way to define this chord if you think of the context of its function.
There is an augmented 6th between the bottom and top of the chord. That’s why it’s better to think of it as an augmented 6th than as a minor 7th. For example, AbCEbF# is a German 6th in C, as opposed to AbcEbGb which is a V7 in Db. They sound the same as each other but function differently.
Why is the recipe require starting on the minor 6 ? Is it used like a 4 minor chord in major ? But then the f# is like a Neapolitan minor 2 in Fminor . Is this where the Neapolitan function is used ? Trying to figure this stuff out thanks
For guitarists out there, in the key of C - play a G7 dominant 7th and slide it all up a half tone. Then you will have A flat, C, E flat and G flat/(=F sharp). That's a GERMAN augmented 6th. Now take out the E flat (5th) and you are left with three notes and an ITALIAN augmented 6th. For a FRENCH augmented 6th, replace the E flat of the GERMAN aug with a D (so lowering by a half tone).
It’s the same three frequencies, sounds the same, same keys on a piano, but..it’s spelled differently (F# is a sixth above the root whereas it would be Gb in an Ab7 chord-a seventh interval). More importantly, it functions differently. An Ab7 chord really doesn’t serve any purpose in the key of C major. The augmented sixth does.
@@man0sticks I know all this, I'm not an idiot. you're off the point. Also you don't refer to them as frequencies in this situation. . It's the same relation of notes as a 7th chord, " _An Ab7 chord really doesn’t serve any purpose in the key of C_ " yeah I never thought , or suggested it did. I am merely talking about the structure of the chord. I know. . I'm really asking a rhetorical question to the video maker. (F# is an augmented 6th above the root)
Whatever the terminology the point is that Ab C Eb F# is a German 6th in C, while Ab C Eb Gb is a V7 in Db. They sound exactly the same but function very differently. The German 6th moves to lc or V in C, while the V7 moves to l or Vl in Db.
On chopin's prelude n4 in E minor, he uses some kind of augmented 6th chord, but he notes it like C7 on the 3rd inversion. Does it still count as a german sixth or something?
If it’s CEGA# it’s a German 6th in E minor. If the spelling is altered to CEGBb it becomes a Dominant 7th in F. This is one of the things that makes the Augmented 6th so flexible.
Other resolutions are possible but if the bass moves a semitone/ half step down to the 5th that gives the best voice leading and the smoothest progression.
It sounds the same but it needs to be F# because it’s an augmented 6th chord not a minor 7th chord and F# is an augmented 6th above Ab. Also, if you call it Gb it changes the chord to V7 in Db.
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I have a class that doesnt actually teach me how to do this stuff haha they just expect us to read a text book and magically understand it. This solved 30hours of confusion in 7min. Thanks!
Glad it’s helpful. See www.mmcourses.co.uk for details of our 24 online courses, how to join Music Matters Maestros, and to find out about our marking and accompaniment services.
That’s how music theory classes are and I hate it🙄
There are certainly better and more useful ways to learn theory
I traveled the ocean to study in a good conservatory and I ended up having teachers that don't know how to teach. You're helping me A LOT.
Glad it’s useful. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I have a masters in music, and this channel is something I would have killed to know about in my undergrad. This is the best theory channel I have ever seen.
Thank you. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
It really is❤
😀
I’m just an old guy who has always loved writing music. I wish I had met Mr. Green 50 years ago. I have learned more in the last year than in the previous 60. I actually call myself an Amateur composer. With a straight face!
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I keep referring back to this video! It is a magnificent display of the character of the chords and presented flawlessly! Thank you!
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An interesting way to think about the German 6th is that it is the tritone substitution of the II7 chord, which could be used to resolve to a V7 chord, but that's more of a jazz harmony thing.
Absolutely
You sir are saving a music theory student in desperate need of a clear explanation, so thank you greatly!
A pleasure. Good luck with your studies. Have a look at www.mmcourses.co.uk for plenty of help
You're the only one who could explain it effectively to me. Thanks!
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Thank you for a brilliant explanation of Augmented 6ths! This is the only video I've found which helps me understand the concept
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To understand this properly though, one needs to understand that an augmented 6th above the A flat is f sharp & 10 half steps or semitones above the A flat.
😀
This is the clearest explanation I've ever heard describing the the 3 augmented 6th chord French, Italian & German.
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Your channel is a hidden gem. So glad I found it :).
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Your lessons are gifts to me and many underprivileged, just THANK you!
It’s a pleasure. Good to have you with us.
only an Englishman could explain this as concisely and accessible as you have done sir. Well done, subbed!
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Thanks! And I just discovered for myself that the augmented 6th (especially the French) can also dramatically go to Vsus4, then V, and finally I.
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I believe Mozart liked this particular progression
True
Fabulous explanation - thanks!
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Trying to learn these!
😀
You explain this expertly; far better than my professor (who has found it in himself to complicate it to no end). Thank you for making me ENJOY these wonderful chords rather than dread them!!
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Thank you! Clear explanation and I like how you added where it can be used within a piece of music. Excellent video!
Glad it’s useful
Real fast: Italian b6 - 1 - #4 || French b6 - 1 - 2 - #4 || German b6 - 1 - b3 - #4
You're the best, Gareth.
You’re very kind
Thanks for breaking this down. Others on RUclips have given some explanations of this, but I can wrap my head around this much better with your description.
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Thank you for explaining this and a fantastic video:) thanks :)
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Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
I just wanted to say thank you so much for these videos! I am recently taking up again music and i just wanted to remember some things to get on track. I just watched your video about Harmony, and let me tell you that you explained it better, clear and faster than my conservatory professor did in a year. Keep this great videos coming!!!
PS sorry if i wrote something wrong, i hope my message is clear enough :D
That’s really lovely of you to write in such warm words. I’m so glad it’s helpful. There’s lots more material at www.mmcourses.co.uk
Great lesson! Thank you.
Ive played and studied these chords for years but never understood them.
When you pointed out that these chords are chromatic chords...the light came on upstairs.
The connection you made, in my mind, is that these chords are basically chromatic mediant chords.
I was always thinking of them as secondary dominants so it didn't add up and they confused me.
Chromatic chords explains everything thank you.
That’s brilliant. Enjoy!
THEE most helpful man on this platform, thank you so much.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I’ve been battling with TCL’s somewhat confusing explanations on this. This was incredibly useful! Thanks so much, and you’re now my go-to for anything related to theory!
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So much fun the way you teach and what you share, always a smile here across the pond !
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Amazing lesson!!! One of the best videos, perhaps THE best out there, about these amazing chords! And your teaching is amzing too, right to the point and very well presented!!!
That’s really kind. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
another super clear explanation from you. I arrived here after discussing the last movement of Mozart's 24th Concerto with a freind and he said that the last movement has great examples of Aug 6th harmony (which indeed it does!)
Absolutely
Aunque no hablo ingles,pude entender definitivamente los acordes 6th aumentados! Genial maestro!
😀
Bien, bien!!
Based on your excellent presentation, I am now a subscriber.
Let's not forget the "Lithuanian Q Blunt pi" chord !
Bill P.
Welcome!
Thank you !
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Thank you for this simple amazing video. So grateful
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You explained the augmented chords beautifully! Thank you!
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I cannot thank you enough for these videos.
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Beautifully explained, thanks!
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Thank you so much!! I have my first undergrad theory exam next week for the tonality module we did throughout first semester. I just watched your video on dim 7s and now onto augmented 6ths as I realised I just did not know the difference between the three types. This was so helpful 😄
Glad it’s helpful. Much more at www.mmcourses.co.uk Good luck with the exam.
Wow I spent ages trying to figure it out for my A level music but you put it so simply haha, thank you sir!
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Thank you so much on your help with this. This is much easier for a jazz or rock musician to understand and apply when its relationship to b6 Dom 7ths as you did (and the added color tones), the the movement to the V and the I. I'll have to think about minor Aug 6ths from this same perspective
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You explain extremely well.
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Thank you for making this video. I learned a lot of it.
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Great explanation, as all videos I've seen so far are. Some of them I've revisited a few times already. Certainly going to sign up for a plan or course on their website later this year when I'll have more time on my hands.
That’s great. We look forward to welcoming you to our online courses
This is a fantastic video to accompany Trinity Grade 8 Theory of Music.
It should be very helpful for that.
I'm paying close attention to the finger pattern, but this is beyond my pay grade....for now. But your videos present complex musical ideas in simple ways, so that when I'm ready to add this to my repertoire, I'll be prepared.
Merci.
That’s great
thanks dear
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Great lesson. Cheers.
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Good thing I found this. I was searching this musical analysis of Mozart’s Lacrimosa, saw a video and they said something about german aug. 6 chords.
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Totally got it now, cheers for that. I can't quit my brain from hearing Ab7 though. So I hear tritone sub of V of V --> V --> I. But this was fuzzy and you've completely cleared it up for me. Thanks again.
That’s great. The important thing is context. Hear the chord followed by the resolution chord then you won’t hear it as V7. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
@@MusicMattersGB Context. Yes. Thanks Gareth, will do.
😀
Great explanation, lovely guy. Thank you💖
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they're hendrix chord that being modified (without the #9, sometimes plus #4), or tritone substitution for pre dominant chord, which you can also play G#m7b5 for the tonic C.
Certainly there’s a link but there are subtle differences too.
I see your tritons sub point. It is sorta like a triton sub for a II7 chord. The french having the added 11 (4 = same note as 11 inverted)
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Maestro: This is teaching! In the time set 6:27 when you have the German Augmented 6th you state you can go from the Augmented 6th Chord to the V Chord (Question? is this the bE Flat V Chord?) You explained that you will end up with Parallel 5th's (bA Note and bE are 5th's) I am not a music genius like you so from the German Augmented 6th Chord do we go to bE 5th Chord or the C Major Chord G B D F?You state that it is better to go from the German Augmented 6th to the 1C (Question? is that the first inversion of the C Chord (EGC) and then to the V Chord (GBDF). Will you please "squeeze" a second to explain. Again, thank you much, indeed, for your time, kindness for your video.Respects,R
lc is a second inversion chord. So in C Major it’s CEG but with G as the lowest note.
Chord V in C Major is GBD. The German 6th can progress to either of these chords.
Thankyou for making this so easy to understand . Your teaching is so helpful .
Is the German Augmented 6th the only one you can use for modulation into other keys or can the others be used aswell say to G Major or A Major using the F Sharp and Ab as G Sharp respectively
Many thanks
A pleasure. You can modulate using any of these. Much more at www.mmcourses.co.uk
Thankyou for replying
Much appreciated
😀
One thing I find helpful is to think of the scale degrees. So with the french chord, instead of speaking of adding an augmented fourth on top of the augmented sixth, think of adding the supertonic (2nd scale degree).
Yes. That works
thanks so much for the walk through :)
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Hi Gareth, Thank you very much for your excellent video, once more clear, concise and very helpful.
Also, I was wondering if you could clear something up for me? If I was in the key of Eb Major and I played the following chord:
Cb Eb F# A
resolving to a second inversion of the tonic chord of Eb, could this be interpreted as a German Sixth chord?
I understand that the German Sixth contains a perfect fifth, but in this example the interval from the bass Cb to F# is actually a doubly augmented 4th. How important is the spelling of this chord and what are the consequences of using enharmonic versions for the identity and functionality of the chord in question? Many thanks for any help you might be able to give me.
The F# should be written as a Gb to be an authentic German 6th but you can alter enharmonics to create other possibilities and that’s something that makes Augmented 6th chords flexible.
@@MusicMattersGB Thank you very much for clearing this up for me, you have put my mind at rest and whetted my appetite to learn more!
That’s great.
Thank you for using simple language such as "Ic" instead of whatever wacky notation I see other videos use for inversions :)
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Great explanation, can I ask why the F# above the Ab is called an augmented 6th and not a minor 7th? Is it because the assumed scale belonging to the Ab would have a major 7th? Cheers 😊
A something to F something has to be called a 6th because by counting F as 1 A is 6. This is why it can’t be a 7th. Ab to Gb would be a 7th.
In modern harmony context, the augmented 6th (based of Classical Harmony) is equivalent to the modern Substitute Dominant of G7. Thus, the French Augmented 6th based on Db is equivalent to the
That’s true in part but there is an enharmonic difference and the two chords function in different ways.
Hello Gareth. Crystal-clear as usual, thanks a lot. What about placing a natural E in there? As in Ab / C / E / F#. What nationality would that aug 6 be? I'm Italian so I'm OK already, so let's call it the British aug 6 in your honour! Cheers
Good question! I’m honoured!!
@@MusicMattersGB I looked up un Wikipedia, all languages available for the aug 6 chord, and managed to find Swiss, Australian and Japanese versions, but none of them is the note pattern I called British. That's quite curious, because I can't think of any other harmonic syntagma with those four notes. Wikipedia English even mentions the Tristan-accord under the aug 6 article, but I think it's quite far-fetched. What do you think Gareth? Shall we really introduce the British aug 6? I'll immediately write a chorale with it! 😊 😅
Go for it! Some of these other possibilities are somewhat spurious.
Wow. I didn't know I needed my friendly British dad to teach me about Augmented 6th chords but I really did
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Thanks for the wonderful lesson 😊
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Thank you. I found this video was a very good explanation of the augmented sixth chord
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Crystal clear explanations, you're a great teacher thanks a lot for this video ! Just one question, is the neapolitan sixth related to any of these sixths as well ?
The Neapolitan is really a different chord. It’s a major chord on b2.
@@MusicMattersGB Oh ok thank you for your input !
A pleasure
Takk!
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Thank you. This was very helpful.
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Love your channel! You’ve saved my grades😅😅
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You are referri ng to the parallel 5ths going from II-V with the German 6th, but those 5ths (sometimes referred to as the Mozart 5ths) are allowed.
I know there’s flexibility in this case but many theorists advise avoiding them if at all possible
I have an exam in 20 minutes, this video solved the problem, wish me luck!
Hope it’s gone well
I have exams in the next 4hours. You've saved my life
Hope the exam went well!
@@MusicMattersGB it went great. Thank you so much and keep up the excellent work
Excellent!
thank you so much! this is way more helpful than my college professor
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Great lesson man. :)
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Great stuff. Thank you very much for the informative, practical, and concise info
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Can we also explain the German sixth chord as follows; vii7b3/V ?
It’s one way of looking at it but it’s more about how it functions.
6:30
I'm just curious, why should not make a progression with consecutive fifths ?
It works in certain styles but conventionally four part harmony is more solid when the parts are independent of consecutive 5ths and 8ves.
Thank youuu, I hope I can do well in my exam tomorrow
Good luck!
Brilliant!
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Wonderfully explained every chord.
Sir just a query again.
How to resolve it...i mean is it compulsory to resolve each note step by step or we can arrange in any order we like to do in SATB into chord 5???
You don’t have to resolve by step but V or lc V are the usual resolutions.
What about if the key is A minor- can you still build an augumented 6th and if so, how? Thank you for your time and answer
Absolutely. Build it on the 6th degree.
Any tips on how to move into an aug6 chord? Same question applies to N6, any chord progressions that show these chords in context? Thanks
Chord IV in first inversion is often the most successful approach chord.
Awesome video
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I'm from Ukraine. We don't use Italian chord at all, but French and German chords is widely used, but named DD chord (dominant to dominat), also German named «pseudoD7» and uses before dominant chord, usually D7
That’s interesting. Hope you’re doing okay in the current circumstances.
@@MusicMattersGB Thank you, I'm as fine as it possible...
Not an easy time
@@MusicMattersGB Thanks for your videos, especially about Bach's harmony. I'm violist, but harmony is my favourite subject
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Thank you very much!!
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Simple concise video. I am still not sure why these are called augmented 6th chords. I always referred to these generically as #Dom7 (or bII7/V). Basically a Phrygian cadence to the V (assuming that is the path you take). Adding the ^2 creates an added tension to the Phrygian cadence in this context (it creates an additional tritone tension).
I guess my confusion is just in the naming convention. Does augmented refer to the 5th degree? I think it has something to do with this actually being an altered borrowed chord from the parallel minor scale -> bVI7 (the flat 3rd is a clue). Thus the 6th of the 6th degree chord in context of the parallel minor being augmented. But why was it ever refereed to this way? Was there typically modulation to the parallel minor and this was a means to modulate back to the parallel major in a sneaky fashion?
I know I am overthinking here. But just another digression. Just seems a weird way to define this chord if you think of the context of its function.
There is an augmented 6th between the bottom and top of the chord. That’s why it’s better to think of it as an augmented 6th than as a minor 7th. For example, AbCEbF# is a German 6th in C, as opposed to AbcEbGb which is a V7 in Db. They sound the same as each other but function differently.
Why is the recipe require starting on the minor 6 ? Is it used like a 4 minor chord in major ? But then the f# is like a Neapolitan minor 2 in Fminor . Is this where the Neapolitan function is used ? Trying to figure this stuff out thanks
It’s simply a recipe I teach people in order to ensure they have the chord accurately placed in any given key.
Amazing 😎
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In minor keys, we do not have to lower the 6th scale degree. Keep that in mind.
Absolutely.
If you want to identify a german 6th chord (by hearing it) how do you know if its a dominant 7th chord or a german 6th?
By what follows it
For guitarists out there, in the key of C - play a G7 dominant 7th and slide it all up a half tone. Then you will have A flat, C, E flat and G flat/(=F sharp). That's a GERMAN augmented 6th. Now take out the E flat (5th) and you are left with three notes and an ITALIAN augmented 6th. For a FRENCH augmented 6th, replace the E flat of the GERMAN aug with a D (so lowering by a half tone).
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what about the Swiss version? or the doubly augmented fourth
😀
Thanks a lot 💙🙏🏽
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Can you use these in inversion, and keep the same effect
You can but they tend not to be.
Is this a different theorical approach to a kind of Tritonal substitution dominant?
Not quite.
@@MusicMattersGB It sounds pretty similar though.
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just pausing at 2:48 to ask, isn't that exactly the same as a dominant 7 chord? in this case Ab7 ?
It’s the same three frequencies, sounds the same, same keys on a piano, but..it’s spelled differently (F# is a sixth above the root whereas it would be Gb in an Ab7 chord-a seventh interval). More importantly, it functions differently. An Ab7 chord really doesn’t serve any purpose in the key of C major. The augmented sixth does.
@@man0sticks I know all this, I'm not an idiot. you're off the point. Also you don't refer to them as frequencies in this situation.
. It's the same relation of notes as a 7th chord,
" _An Ab7 chord really doesn’t serve any purpose in the key of C_ " yeah I never thought , or suggested it did. I am merely talking about the structure of the chord.
I know. . I'm really asking a rhetorical question to the video maker.
(F# is an augmented 6th above the root)
Whatever the terminology the point is that Ab C Eb F# is a German 6th in C, while Ab C Eb Gb is a V7 in Db. They sound exactly the same but function very differently. The German 6th moves to lc or V in C, while the V7 moves to l or Vl in Db.
@@MusicMattersGB Yes I can see that..
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In 1/4 comma meantone or 31 tone equal temperament an augmented 6th sounds like a harmonic 7th, a 7:4 ratio!
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What would be the scale degree of an Augmented 6th? (While still staying in Major)
Would that still be submediant?
Build it on b6 of a major scale. Have another look at the video where I explain and demonstrate that and each step.
On chopin's prelude n4 in E minor, he uses some kind of augmented 6th chord, but he notes it like C7 on the 3rd inversion. Does it still count as a german sixth or something?
If it’s CEGA# it’s a German 6th in E minor. If the spelling is altered to CEGBb it becomes a Dominant 7th in F. This is one of the things that makes the Augmented 6th so flexible.
are these chords always meant to go to the fifth even if theres a one in between the aug 6 and the 5? or can it resolve at the one
Other resolutions are possible but if the bass moves a semitone/ half step down to the 5th that gives the best voice leading and the smoothest progression.
Many thanks! But why is it an F# rather than a Gb?
It sounds the same but it needs to be F# because it’s an augmented 6th chord not a minor 7th chord and F# is an augmented 6th above Ab. Also, if you call it Gb it changes the chord to V7 in Db.
Hi! When you say 1C, does that mean second inversion? I'm american, not sure if thats a UK thing. Thanks!!
Hi. Yes.
a is root position
b is first inversion
c is second inversion
Differences between US and UK terminology.
Whats about third inversion in 4 parts chords ?
There is only a third inversion if there is an extended chord and we label that ‘d’.
you are amazing..go on
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