How to use Augmented 6th Chords in Major Keys - Music Composition
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- Опубликовано: 25 июл 2024
- Learn how to construct and use augmented 6th chords in major keys. This music composition lesson explains the best ways to write approach chords to Augmented 6th chords and the best ways to resolve them. After explaining how to form Italian, French and German 6ths in a major key, the resolution chords are considered. We then go on to consider the merits or otherwise of each of the diatonic chords. Part writing issues are illustrated and potential traps are investigated in relation to parallel 5ths & 8ves, doubling of major 3rds, and false relations, which easily create difficulties in relation to progressions involving augmented 6th chords. A useful video for people wanting to work with chromatic chords.
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🕘 Timestamps
0:00 - Introduction to how to use augmented 6th chord in major keys
0:35 - Building an augmented 6th chord in a major key
4:05 - Using augmented 6th chords
7:03 - Example 1
8:23 - Example 2
10:22 - Example 3
12:15 - Example 4
14:03 - Example 5
15:05 - Example 6
16:54 - Example 7
18:37 - Conclusion
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The one using the 4th chord sounded fantastic! Thanks for the great video - I am not much of a musician, but when I have a stab at it I absolutely love using augmented and diminished chords, and found this very helpful.
A pleasure. Much more at www.mmcourses.co.uk
Thank you for your video! I always enjoy the discussions that you generate. You have definitely helped me to be less fearful of the mediant chord as an approached chord. 😄
That’s great.
Thanks for such a clear, well-structured and practical video!
A pleasure. Much more at www.mmcourses.co.uk
Thank You so much. I've been trying to learn about this. Chromatic harmony is very interssting
It really adds colour to your writing
Very exciting topic. Thank you.
A pleasure. Much more at www.mmcourses.co.uk
Remarkable examples! I wish I had seen this earlier; I just finished a piece where this advice would have been really handy. But I muddled through with the tried-and-true practice of common notes and step progressions. BTW, for some reason your examples remind me of ragtime progressions.
Interesting connection with ragtime
Great video! Thanks
A pleasure. Much more at www.mmcourses.co.uk
Where has this channel been all my life
It’s been here for 9 years but if you’ve just found us, welcome! Much more at www.mmcourses.co.uk
Though just at the beginning, I find your this touch exciting on smooth progression.❤
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17:50 - "That progression is a lot better than it sounds!" :)
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Thank you Gareth. I now realise that what I had thought might be an alternative resolution for a dominant 7th chord is actually a resolution for a German augmented 6th.
Is it OK to rearrange the German augmented 6th as a 4th inversion - F# C Eb Gb so that it narrows into C min 3rd inversion followed by G? If so, I think it could be preceded by the Amin in 3rd inversion (or VIc, with A at the top descending by semitones).
flat 6 is always in the bass, always.
It’s true that the augmented 6th chords usually don’t get used in inversion. There are exceptions to that so it’s not impossible but it’s certainly rare.
Your examples sound like every piece by Fernando Sor on classical guitar...ive definitely heard Beethoven use these chords as well.
This is a great Monday morning coffee lesson before I head to work....Sor is stuck in my head now, I'll be singing these chords all day.
thanks a bunch.
That’s great.
Hello,
Can an augmented sixth chord be followed by I? Or is it a tritone substitution? I'm composing a piece with the sequence I, bVI, I? What is the correct denomination?
I have Eb, Ab, C followed by Fb, Bb, Ab, C# followed by Ab, Eb, Ab, C
(if it's too long to explain, I plan to submit the score for the maestro workshop in February)
If you’re wanting to use an augmented 6th chord in that progression you’ll need D natural at the top rather than C#. That then would progress well to an Ab major chord in second inversion. In turn that would naturally progress to V in root position.
To make it easy I memorized it like this:
bVI7 no5 = Italian
bVI7 b5 = French
bVI7 = German
The only problem with that is in order to ensure correct voice leading we need to think #6 rather than b7. It sounds the same but has a very different impact on the chord progression.
Of course, VI-Fr+6-V can be made smoother and eliminate the false relation by doubling another part of the chord than the root. Doubling the fifth (scale degree 3) in the soprano gives the smooth progression E-F#-G.
Not quite sure how that progression works with the French 6th because it doesn’t contain the 5th above the root but I can see the general point you’re making.
@@MusicMattersGB I was just modifying your example 6 to change the soprano starting note from A to E. By 'doubling the fifth' I was only referring to the initial A chord.
Got it
I’ve never ever heard of augmented sixth chords being built on the lowered second degree. Same formula as done for the lowered sixth and then built up?
Absolutely
Just transposed
An augmented 6th is to an extent just a substitution for the V/V so it makes sense
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6:10
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Hey Garrett gee. The semi tone of the A flat is good my loner. Ok A _ A
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an augmented sixth above an already flatted sixth - that's a tricky one
A bit tricky but you’ll soon get used to it.
Very unclear: An Augmented chord is when you are raising the 5th up a half step, why when talking about C in the C major key, you are going to the 6th degree and than lower it (It's the same note) but the language is what I don't understand, shouldn't it be; Going to the 5th degree and than raising it up by a half tone? After all augmented means greater in size or value not lower.
This is not about an augmented triad but about the augmented 6th chord. It’s a different thing. The chord is built on the lowered 6th in a major key eg Ab in C major. Then follow the video to find the chord.
Many thanks, in my head I was thinking chords, and I couldn't understand your explanation @@MusicMattersGB
@yoheff988 😀
Embrace the tritone! #metal
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great video on these confusing chords. never explained though is how the original composers thought of these (since tonal function had not been invented yet) which means it probably goes back to the original idea of composing via figured bass and bass movement, a technique which is not explained by texts on the aug+6 chords either.
Absolutely
I don't know if I'm remembering this correctly, but the origin of the augmented 6th might be even earlier than figured bass, back in the days of musica ficta. If one raises the 7th for a cadence in Phrygian mode, which has a flattened 2nd scale degree, then one gets an augmented 6th.
The augmented 6th would mostly have been avoided pre-Baroque but musica ficta certainly throws up a few surprises.