118-Harmonic Progression Pt.10 (Augmented 6th Chords)

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EpISODE 118 HARMONIC Progression Part 10 (Augmented 6th Chords)

HOSTS- Jeremy Burns, Matthew Scott Phillips

TYPE- Ear Training

DURATION- 90:10

BUMPER MUSIC- "I Meant To Augment" (Area 47 Music)

ANNOUNCER- Mike Cunliffe

On this episode, we will dig deeper into augmented sixth (+6) chords. We will discuss the difference between these chords and the standard augmented triad. We will discuss the three types: Italian, French and German. Then we will test our ears to see if we can identify them in a chord progression.

DIATONIC- When a triad, chord or melody consists of notes solely from the given key, it is considered to be DIATONIC. TONIC ( I )- A note in a melody or a chord in a progression based on scale degree 1 of the given key. SUPERTONIC ( ii )- A note in a melody or a chord in a progression based on scale degree 2 of the given key. MEDIANT ( iii )- A note in a melody or a chord in a progression based on scale degree 3 of the given key. SUBDOMINANT ( IV )- A note in a melody or a chord in a progression based on scale degree 4 of the given key. DOMINANT ( V )- A note in a melody or a chord in a progression based on scale degree 5 of the given key. SUBMEDIANT ( vi )- A note in a melody or a chord in a progression based on scale degree 6 of the given key. SUBTONIC ( VII )- A note in a melody or a chord in a progression based on scale degree b7 of the given key. LEADING TONE ( vii° )- A note in a melody or a chord in a progression based on scale degree 7 of the major key or #7 of a minor key. SEVENTH ( 7 )- This would be the 4th chord tone added to a TRIAD. It will be a 7th above the root of the given chord. It can be major, minor, augmented or diminished. SECONDARY DOMINANT ( V/ )- This chord can act as a dominant function to a chord other than the tonic. AUGMENTED TRIAD (+)- This triad consists of the root, the major third and the augmented (sharpened) fifth (1, 3, #5). ITALIAN AUGMENTED SIXTH CHORD (It.+6)- This chord consists of the root (1), the augmented (sharpened) fourth (#4) and the minor sixth (b6). FRENCH AUGMENTED SIXTH CHORD (Fr.+6)- This chord consists of the root (1), the augmented(sharpened) fourth (#4), the minor sixth (b6) and the major second (2). GERMAN AUGMENTED SIXTH CHORD (Ger.+6)- This chord consists of the root (1), the augmented(sharpened) fourth (#4), the minor sixth (b6) and the minor third (b3). *It should be noted that all the above Roman numeral examples given were shown as uppercase (major) or lowercase (minor) as they relate to the MAJOR SCALE, as seen below: I - ii - iii - IV - V - vi - vii° - I In the MINOR SCALE, the diatonic chords will be built as seen below: i - ii° - III - iv - v - VI - VII - i

The ITALIAN AUGMENTED SIXTH (It.+6) chord consists of the root (1), the augmented fourth (#4) and the minor sixth (b6). Look at the second chord of measure 1(It.+6). Notice how scale degree #4 (C#), in the melody, resolves up to scale degree 5 (D). Meanwhile scale degree b6 (Eb), in the bass, resolves down to scale degree 5 (D). The interval between the b6 (Eb) and the #4 (C#) create the interval of an AUGMENTED SIXTH (+6). This sonority is enharmonic with the MINOR SEVENTH (m7). It holds the same dissonance level as the MAJOR SECOND (M2), it's inversion. However, because we are using the notes C# and Eb, in the key of G major, we are identifying this interval as a SIXTH.

The FRENCH AUGMENTED SIXTH (Fr.+6) chord consists of the root (1), the sharpened fourth (#4), the minor sixth (b6) and the major second (2). Look at the same chord in the example below (Fr.+6). Notice how scale degree #4 (C#), in the melody, resolves up to scale degree 5 (D). Meanwhile scale degree b6 (Eb), in the bass, resolves down to scale degree 5 (D). We now have a new chord member, the A note is an added MAJOR SECOND (M2).

The GERMAN AUGMENTED SIXTH (Ger.+6) chord consists of the root (1), the sharpened fourth (#4), the minor sixth (b6) and the minor third (b3). In the example below, we still have scale degree #4 (C#), in the melody, resolving up to scale degree 5 (D). We still have scale degree b6 (Eb), in the bass, resolving down to scale degree 5 (D). We now have a new chord member, the Bb note is an added MINOR THIRD (m3).

Let's take four listens to identify this chord progression. Below is a good strategy on how to use your listens wisely for each time the progression is played.

1st LISTEN-THE BASS Use this listen to focus on the bass line. In our first example, we hear the following scale degrees in the bass, beginning with scale degree 1. We are in the key of G major. So this will be a G note: 1 - 1 - b6 - 5 - 1 Notate it!

2nd LISTEN-THE SOPRANO

Use this listen to focus on the melody, or the soprano voice. When you hear that note, try to identify what scale degree it is and where it goes from there. Sometimes singing (in your head), from the identified note down to the the tonic, can help zero in on what scale degree it is. In this case, we hear that scale degree 5 begins the following progression in the highest voice:

5 - 6 - #4 - 5 - 5

Notate it!

3rd LISTEN-THE THEORY BRAIN Something harmonic is coming together! We now have enough information to ENGAGE OUR THEORY BRAIN and start making educated guesses at how this progression might develop. Now, we will listen for chord qualities. Here's an example of the process: First chord sounds major, we have a G and a D. Both are chord members of the I chord, G major. Let's presume this to be a G major chord (I). Second chord sounds major. We have a C and G. Both are chord members of the IV chord. Let's presume this to be a C major chord (IV). Because the G (5th) is in the root, it is in 2nd inversion (IV 6/4). Third chord sounds weird! We have a C# (#4) and an Eb (b6). Both of these notes are essential members of all 3 augmented 6th chords. So, it's safe to theorize this to be an augmented 6th chord. But is it French, Italian or German? -Italian is the simplest version of these chords. Though still a complex harmony, it sounds a little "cleaner" than the other two. -French sounds the most complex and exotic because of the M2 harmony. It has a dreamy, "whole tone" quality to it. -German is essentially a respelled V7 chord. So if you've become good at identifying those, you should be able to hear that in the Ger.+6 chord. Fourth sounds major. We have an 2 D's (5) It feels like it wants to move to one and it does. Let's presume this to be a D major chord (V). Fifth chord sounds major. We have a G and a D. These are both in G major (I). It feels very complete and resolved. Let's presume this to be a G major chord (I).

4th LISTEN-CONFIRMATION

Ideally, this listen will be your confirmation listen. Check out all the voices you filled in and make sure they make sense with what you're hearing.

Here's what it will look like:

NOW LISTEN AS WE APPLY THIS APPROACH TO THE NEXT EXAMPLES

-When trying to determine which scale degree is in the highest voice, try singing down the scale from that note. If you feel you've reached the TONIC on the 3rd note down, that note is the 3rd. If you can keep going, perhaps not.

-Try practicing progressions using these chords, using CHORALE or KEYBOARD styles.

-Don't neglect the MINOR keys while working on these progressions.

-Try to get good at singing "in your head" or to your self. When you hear a chord, try to arpeggiate the notes in your head.

-Try to get good at identifying the bass lines when listening to music. These will be the first that you will want to identify when taking your listening exams.

-Budget your listens wisely. First identify the lowest notes. Second, identify the highest notes. Use the third listen to engage your theory brain and then the fourth to confirm.

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