Augmented Sixth Chords: An Examination of the Pedagogical Methods Used by
Three Harmony Textbooks
In searching for manifestations of Hegelian unity in music (as theorists and philosophers so frequently do), one need not look further than the augmented sixth chord. Defined by its linear melodic outline, it functions as a vertical, harmonic construct; innately chromatic, it impetuously proclaims a tonal center; distinct in its individual character, it is consummated only in concurrence with its fellow harmonies; indeed, the augmented sixth chord is an exemplary juxtaposition of antithetical concepts. How can one even begin to explain so complex an entity? How can one account for its copious possibilities and implications? Theorists and pedagogues have taken many different approaches to the teaching of augmented sixth chords. In the following paragraphs, three such approaches will be examined and discussed as put forth by three different textbooks: Harmony and Voice Leading (Aldwell and Schachter), Harmony (Piston), and Harmony (Schoenberg). Intended for students of varying theoretical backgrounds, both the Piston and Aldwell/Schachter texts provide an organized, methodical explanation of augmented sixth chords and their uses. (Schoenberg, writing for a different audience perhaps, differs wildly in his approach and consequently will be discussed separately.) Discussion of these chords in both textbooks begins with a description of the interval of the augmented sixth and its title role in augmented sixth chords: Piston provides a brief, detailed, verbal account, while Aldwell and Schachter introduce the interval with an excerpt from a Mozart sonata before proceeding to a verbal description. They then make several general statements to be elaborated upon later and point out that these chords are unique as they do not belong to the key of their resolution. The description is clearly communicated through use of letter note-names and written notes, while Pistons description is slightly abstruse in its reliance on scale degrees. Having introduced augmented sixth chords, both books then explain contrapuntal origins and present the four, multi-national varieties: Italian, French 4-3, German 6-5, and German 4-3. Piston lists the four chords and adequately explains their construction. He then appends his Definitions section with a Resolutions section that makes use of the same esoteric jargon as his introduction of the augmented sixth. Several interesting comments on the intuitive and logical associations of the different chords with either major or minor modes provide some compensation for the sections deficiencies; nonetheless, Pistons commentary pales in comparison to Aldwell and Schachters exhaustive accounts of each chord that include characteristic qualities, frequent uses, resolutions, and examples from widely-known repertoire. It is interesting to observe the paradigm shift from Pistons definitions, which assign each chord to a somewhat contorted version of a Roman numeral, to those of Aldwell and Schachter who, having already dismissed augmented sixth chords as keyless entities, absolve themselves of any such diatonic responsibility. After expounding on the intricacies of these chords, Aldwell and Schachter discuss various means of approaching augmented sixth chords. Any student who thought the previous description were lackadaisical will certainly take recompense in reading this section: Aldwell and Schachter thoroughly chronicle the methods of arriving at augmented sixth chords via chromaticized, altered, or just plain simple forms of I, II, IV, and VI. Though they have abstained from relating augmented sixths to any diatonic harmony thus far, the authors can not entirely escape pedagogical tradition, and so they do correlate these chords to II and IV. Aldwell and Schachter then explain the use of augmented sixth chords as agents of modulation to V and discuss other miscellanea that Piston only briefly touches upon. Both textbooks proceed to mention the use of these chords in inversion, resulting in diminished thirds; this is fairly self-explanatory and need not be elaborated upon. Finally, both texts arrive at descriptions of perhaps the most interesting and empowering quality of augmented sixth chords: their ability to enharmonically double as dominant seventh chords and thus create a portal to distant and unrelated keys. It is unfortunate that this elucidation is relegated to the very end of the chapter at which point the student may be overwhelmed by the complexity of the topic as this aspect of augmented sixth chords provides easy access to a wide spectrum of interesting possibilities that were previously unattainable. Before moving on to Schoenbergs textbook, it is necessary to take note of the problem of parallel fifths that arises when the German augmented sixth chord resolves to V. The problem lies not in the parallel fifths themselves as these can be easily avoided by inserting a 6-4 chord but rather in the fact that this strictly forbidden interval progression is actually quite innocuous and often occurs in compositions of the great masters. Both the Piston and Aldwell/Schachter texts dutifully warn the student of the danger of parallel fifths and discuss ways of avoiding them within this particular resolution, but they all too grudgingly admit that, were this sacred doctrine violated, the sacrilegious composer would not necessarily be smitten to the ground by a lightning bolt from the heavens. In stark contrast to both the aforementioned textbooks, Schoenbergs Harmony is not intended for the average student. As the author delves into a profound philosophical investigation of augmented sixth chords without actually explaining what they are, it becomes quite apparent that the reader must be endowed with both previous knowledge of the topic as well as saintly patience. The contents of the chapter seem better suited to the composer struggling to find interesting creative outlets within the tonal idiom than to the musician seeking a clarification of harmonic theory. Rather than explaining augmented sixth chords as a whole and then specifying the characteristics of the four different types, Schoenberg accounts for each chord individually. He begins with augmented 6-5 chord, but is almost immediately distracted by the issue of parallel fifths in this chords resolution. After stating that these fifths are not so bad after all since they were used by Mozart, he declares that anything written by the masters should be permitted. This statement sends him on yet another tangent, and he begins to consider the differences between practical and aesthetic theory, only to conclude that the student should not write parallel fifths whenever it is possible to avoid them. Such digressions are characteristic of Schoenbergs writing style in this book; the reader must accept them and grow accustomed to them in order to benefit from the authors wisdom. Returning to his original subject, the augmented 6-5 chord, Schoenberg presents a very interesting approach to its derivation: bound to the notion that the chord must belong to a diatonic scale degree yet seeking consistency, Schoenberg classifies the augmented 6-5 as an incomplete ninth chord on II, where the root (scale degree 2) is not actually realized. Any other derivation, he maintains, would define the chord as a variant of either II, IV, or VI depending on its context, and this disparity may be confusing (!). Schoenberg uses this very argument later in the chapter to dismiss the idea that the chord could belong to any particular key, and having thus liberated augmented sixth chords, he immediately associates them with diatonic harmonies yet again. Now that the augmented 6-5 chord has been explained to the authors satisfaction, he accounts for the other augmented sixth chords as inversions of the 6-5. Since he views the chord as a ninth chord, four inversions must exist; thus Schoenberg invents a new species of this augmented sixth chord. The next few pages are devoted to the anthropomorphization of various scale degrees and to unnecessarily complicated analysis of enharmonically equivalent spellings. Finally, Schoenberg states the significance of the chords double function as augmented sixth chords and dominant seventh chords. Of the three textbooks explored thus far, only Schoenbergs Harmony fully addresses the possibilities and implications of this duality. The remainder of the chapter is of greater compositional interest than it is of theoretical significance. Schoenberg, recognizing that the student may be timid in writing chords of such distinguished, chromatic, character, urges him or her to make frequent use of these chords in order to consistently and distinctly color a composition. The student need not fear that the overall sense of tonality will be lost, since it can always be reinforced through proper resolution of the augmented sixth chord to V and then I. Schoenberg presents the idea of constructing augmented sixth chords on each diatonic scale degree (the scale degree itself acts as the silent root of the ninth chord, of course) and suggests that all these chords may be used, even if vigorous means are sometimes needed to restore the key. (252). Later in the chapter, two new varieties of chords are introduced: the first is an inverted, French, diminished third chord in which the third is surrounded by the minor seventh formed by the remaining two tones; the second is the same as the first, but here, the upper leading tone is lowered by a half step so that it is no longer a leading tone (in essence, this is a half diminished seventh chord). In both these chords, the outer voices that form a minor seventh resolve outward to an octave, just as an augmented sixth would. Schoenberg points out that these chords are not particularly complicated and do not require lengthy discussion, but then proceeds to discuss them for the next several pages. The unexpected outward resolution of a minor seventh, however, is a useful and interesting compositional device. Towards the end of the chapter, Schoenberg suggests that the student practice connecting augmented sixth chords with diminished seventh chords, augmented triads, Neapolitan sixth chords, and other augmented sixth chords, and explains the benefits of each of these relationships. This once again presents the student with many interesting options. Schoenberg concludes with some remarks about the necessity of proper voice leading in composition and the possibility that extended chromaticism will someday be as prominent in vocal music as it is in instrumental music. Maintaining the logical and rhetorical style of the rest of the chapter, the author leads to his final coda by writing: In conclusion, yet other possibilities for resolving the diminished seventh chord should be added here. To reward the brave reader for surviving up to this point, Schoenberg offers extremely insightful and useful commentary in the penultimate paragraph: pitches are flexible. Each pitch even combinations of two or three pitches contains a myriad of possibilities. Alterations as simple as moving a single pitch up or down a semitone can result in entirely new contexts, while still maintaining some tonal relevance. Having thoroughly confused the reader, Schoenberg vehemently urges him or her to go forth and explore. Keeping this imperative in mind, even some of the authors more far-fetched advice is invaluable to the composer. The pedagogical methods used by Piston and Aldwell and Schachter are thoroughly organized and fairly clear, which accounts for their popularity and widespread use. Though Pistons explanations tend to be obscure, they are quite adequate, and though Aldwell and Schachters explanations tend to be gratuitously detailed, they are thorough and they demonstrate the significance of augmented sixth chords within a greater musical framework. Schoenbergs book, though not for the faint of heart, is perhaps the most interesting, most compositionally useful, and at least as unique in character as the chord that it describes. Though these three textbooks competently clarify augmented sixth chords, the intricate and somewhat mysterious nature of these harmonies is never truly elucidated. A teacher can, at best, combine the three didactic approaches by describing the more tangible qualities of augmented sixth chords, familiarizing the student with common uses of these chords, and sending the student off to discover for him or herself the plethora of possibilities that exist in the uncharted waters of the chromatic world. I. the interval of the augmented sixth a. why an A6 and not a m7? b. Inherent chromaticism of the double leading tone c. Outward resolution to a P8 (play examples; compare to examples of resolution of a m7) II. augmented sixth chords a. chord construction (play each chord) 1. Italian 2. French 4-3 3. German 6-5 4. German 4-3 b. Common resolution of each chord (play each resolution) 1. mention parallel 5ths formed by German A6, show that they are not strongly heard, suggest that proper voice leading be followed for pedagogical purposes c. approaching A6 chords (play each approach) 1. from II and IV a. chromaticized voice exchange 2. from VI 3. from I 4. contrapuntally a. through chromatically descending bass b. with b6 as neighbor note to 5 d. common uses and characteristics of each chord 1. play and discuss examples from the repertoire III. diminished third chords a. inversion of A6 chord b. proper voice leading Separate Lesson IV. A6 chords in modulation A. modulation to V 1. discuss role as secondary dominant 2. play and discuss examples from repertoire B. modulation by half step 1. discuss double function as dom7 a. function as V7/bII b. typical uses c. play and discuss examples C. other possible modulations 1. discuss the possibilities created by constructing A6 chords on different scale steps and reinterpreting them as dom7 chords 2. play and discuss examples 4789300 7440114