UNIT 3.

2
AUGMENTED SIXTH CHORDS
If you saw the following chord out of context, where do you think it would go?

It’s A♭7, so you might think…. it’s the

V7 of D♭ major, so D♭! and typically,
that’s what would happen:

The A♭ would resolve to D♭ (assuming

it’s in root position).

The G♭, as the chordal 7th, would

resolve down to F.

What if we didn’t want this to be a V7 to I, but instead serve as embellishing chord, resolving to a
tone a half-step below?

We could “misspell” the seventh

factor to be an augmented sixth
instead of a minor seventh.

Now, instead of it being

spelled (A♭ C E♭ G♭),
it’s spelled (A♭ C E♭ F♯).

This chord won’t resolve to D♭;

it will resolve to octave G’s, which
might be the root or the fifth of the
next chord.

Remember how accidentals resolve…

Now the “7th” will resolve UP and
the “root” will resolve down, both
by half-step to the root of the next
chord.

The interval of the augmented

sixth resolved OUTWARD to the
embellished chord’s double
note.
Augmented Sixth chords are ornamental chords; they are there to embellish the chord that
comes after it!

The interval of the augmented sixth, and how that interval resolves, is what gives them their
unique quality.

WE’RE NOT IN TERTIAN LAND ANYMORE!

Notice I keep putting quotes around the “root”.
That’s because we’re not exactly using tertian harmony anymore, so it’s hard to say exactly what
is the “root” of this chord.

For example: the chord above was spelled (A♭ C E♭ F♯), which is a stacked third, fifth, and
sixth… not tertian!

You could look at that and say, well it looks like it’s in chord club F in first inversion!

But those thirds aren’t just major and minor anymore… put it back in root position (see the pink
circle) and F♯ up to A♭ would be a diminished third, enharmonic to a major second, and if you
just heard this chord without seeing it written down, or just saw the notes on the piano without
knowing what spelling was being used, it would be assumed that A♭ is the root, not the third,
because it’s enharmonic to an A♭7.

So, even though it doesn’t quite fit with our chord clubs, what we call the “root” of this chord
is what would be the “root” if it was written enharmonically as a dominant seventh
chord.

Also, these are typically written with that “root” in the bass voice, which further
emphasizes its importance in the chord.

HINT: if you start analyzing a chord and find that it has a d3 in it, you’ve found an
+6 chord.
Invert it; the upper note in the d3 is the “root” of the +6 chord.
HOW TO BUILD THEM… THE EASY WAY!
Whatever tone you want to embellish, simply:
-Go one half-step up: that is the “root” of the chord
-Go one half-step down: that is what will be the augmented sixth of the chord

Let’s use D as an example.

We want to embellish a D tone, which may be

the root of D or Dm chord, or the doubled
fifth of a 64 chord, like G/D or Gm/D, which
would then resolve to D or Dm. It is shown in
green.

To find the augmented sixth interval that will

embellish it, go up one half-step; that will be
the “root” of the augmented sixth chord
(red block R). This is spelled E♭.

Then, go down one half-step; that will be the

augmented sixth up from the root
(red block 6). This is spelled C#.

(If this had been a normal dominant seventh

chord, we would have spelled it D♭)

Remember that d3 inverts to A6!

Before you move on, stop and practice find the A6 interval to a few tones here.
Scroll down for the answers!

Find the A6 interval that would embellish:

1) C … answer: D♭ and B
2) E … answer: F and D#
3) G … answer: A♭ and F#
4) B♭ … answer: C♭ and A

Answers:
1) D♭ and B
2) F and D#
3) A♭ and F#
4) C♭ and A
How to spell, cont.

To fill out the rest of the chord, add a major

third above the root (middle red block).

This is essentially the “third” of the chord.

Here, it is spelled G.

Notice at this point you have what is

enharmonic to a dominant 7th chord with a
missing fifth.

These three notes -

the “root”,
the A6 (enharmonic to a m7),
and a M3 above the “root”
- are in every augmented sixth chord.

Now add the “third” to each of the pairs you found a minute ago.
Scroll down for the answers!

Find the A6 interval and the third:

1) C … answer: D♭ and B, the third is F
2) E … answer: F and D#, the third is A
3) G … answer: A♭ and F#, the third is C
4) B♭ … answer: C♭ and A, the third is E♭

That is the basics of augmented sixth chords; the “root”, “third” and +6 are built the same way in
all of them.

The “fifth” is where there is a variety!

Answers:
1) D♭ and B, the third is F
2) F and D#, the third is A
3) A♭ and F#, the third is C
4) C♭ and A, the third is E♭
THREE TYPES OF AUGMENTED SIXTH CHORDS
There are three distinct flavors of augmented sixth: the Italian, the German, and the French.

Each of the chords contains:

-the “root”
- the interval of an augmented sixth above the “root”
-a M3 above the root.

These three notes are in every kind!!

However, the “fifth” changes depending on what type.

Here are the basics for each type.

The Italian - you already know how to build this one
The Italian is the easiest one… it only has three notes. We’ve been building Italians this whole
time.

You can think of this like a dominant seventh

chord with a missing fifth!

It only contains the outside interval of A6,

and the added M3 above the root.

When it is written in four voices, you would double the “third”.

Here, the chord is spelled E♭, G, G, C#.

It is resolving directly to Dm.

Notice that the interval of the augmented sixth resolved OUT… both
E♭ and C# resolved to chord factor D, the root of the chord in this case.

The “thirds” resolved to the closest chord tones of Dm.

For its “Roman numeral”, we put It+6.

It could also have resolved to a 64 chord in which D was the fifth (G/D or
Gm/D). This would then typically resolve to D or Dm.

Again, the interval of the augmented sixth resolved OUT… both E♭

and C# resolved to chord factor D, this time the fifth of the chord.

The “thirds” resolved the closest chord tones of G/D.

The German - the most stable, normal-sounding one
The German is enharmonic to a complete dominant seventh chord. It has all four factors: root,
third, fifth, and seventh, but of course that seventh is spelled as an augmented sixth.

We have the outside interval of the A6 (E♭

and C#).

We have the M3 above the “root”, G.

Then we have a m3 above that, or a P5 above

the root (shown here as red block Ger).

This chord is spelled: E♭ G B♭ C#♭

For its “Roman numeral”, we put Gr+6 or Ger+6.

Here, I’ve spelled the “fifth” as a B♭. It will embellish chord factor D.
As always, the interval of the augmented sixth resolves OUT to
the same tone.

In this case, that tone (D) was the root of the chord. When we partwrite
the Gr+6 resolving to a chord in which the embellished tone is the root,
like this Dm…
We get parallel fifths between the “root” and the “fifth”! In this example,
it’s in the bass and tenor.

No matter the voicing, the “root” and “fifth” will resolve in parallel P5s if
we resolve directly to a root-position chord.

An easy way to fix this is to instead resolve to a 64 chord

in which the embellished tone is the fifth. In this case, G/D
or Gm/D.

Here, I’ve resolved the Gm/D, and then D. Notice my tenor and
bass voices move separately, thus avoiding the parallel P5s.

Essentially, the “root” and the A6 will move first, while

the “third” and “fifth” stay common tones and then resolve
on the next chord.
A very smooth resolution!!
The French - the exotic one
The French Augmented Sixth chord adds a
major second above the “third”.

It’s going to sound like a flat fifth, but we

spell it a major second above the “third”, or
you could think of it as an augmented fourth
above the “root”. Same thing.

In this case, that “fifth” is going sound like a

B♭♭, but we are going to spell it A, so it’s
not
actually a lowered fifth. It’s a major second above the G, the “third”. This chord here is spelled:
E♭ G A C#
You will see why in a just a bit.

Here it is resolving to Dm.

For its “Roman numeral”, we put Fr+6.

Notice that the jazz chord symbol includes a “flat five” (♭5). That’s
because that is what it sounds like - like the fifth has been lowered by a
half-step. You won’t spell it like a flattened fifth. You’re not spelling that
fourth chord factor like a seventh, either, remember? The jazz chord
symbols are what the chord sounds like, not how it’s spelled. This is the
symbol you will see in fake books (see “In The Wee Small Hours of the
Morning” for a great example).

Again, the A6 interval (E♭ and C#) resolves outward to chord

factor D, which in this case is the root of the next chord.

The “third” in the alto and the “flat fifth” A in the tenor resolve to
the nearest chord tone or by common tone!

Why do we not just spell it like a flat five?

Look at how the A in the tenor resolves: by common tone.
Now imagine if that was spelled like a B♭♭.
You’d have B♭♭ resolving to an A.
Just think about this for a minute. Go play it on an instrument.
Would YOU want to play a B♭♭ and then an A?
Would you play it perfectly?
Or would you mess up, and then gripe about it as you took your pencil and
changed the B♭♭ to an A?
“Why didn’t they just write it like an A,” you’d cry.
Think about this every time you write a Fr+6.
French, cont.

The Fr+6 can also resolve to a 64 chord in the embellished tone is the fifth.
Here, our chord resolves to a G/D, in which D is the fifth (G/D or Gm/D).
This would then typically resolve to D or Dm.

The A6 interval (E♭ and C#) resolves outward and this time treats
the octave Ds as the fifth of the chord.

The “third” and “flat fifth” resolve to the nearest chord tone or by
common tone!
GOING A LITTLE MORE IN-DEPTH….
The German, in major

The German chord resolves beautifully to a minor 64 chord. However, if you resolve to a major
64 chord, you get this:

Look at the tenor voice: a B♭ resolving up to a B-natural.

This is very awkward and a bit confusing.

<<--- DON’T DO THIS

To fix that, we can respell that “fifth” as a

double-augmented fourth. That’s a lot to ponder, so
just think to yourself:

what would resolve more nicely to B-natural: B♭ or A#?

An easy way to remember:

If it’s going to a minor 64 chord, that “fifth” would be a

common tone and you wouldn’t even have to worry about it.

It it’s going to a major 64 chord, that note in the “fifth”

will change. If the note changes, re-spell it so that it will
resolve in the direction of its alteration.
CHEAT SHEET
The previous pages in a nutshell

How to spell
The interval of A6 is enharmonic to a m7.
From the bass, you always add a M3.

These chords are essentially a dominant 7th with the 7th factor respelled as an A6!

For example:
If I wanted to write an augmented sixth chord that would resolve to B, I would go
one half-step above B…. C
Using C as the root, I would spell a dominant seventh chord: C E G B♭
Now respell the 7th factor as a 6th: C E G A#
This your base model. Next, go to the type you want to spell:

❖ Italian is that, but drop the fifth: C E A#

Italian can resolve directly to the major or minor root-position embellished chord, or to
the major or minor 64 chord in which the resolution tone is the fifth.
“C7” - B or “C7” - E/B - B

❖ German is that, exactly, moving to a minor 64: C E G A# → “C7” - Em/B B

German is that, almost, moving to a major 64, but respell the fifth enharmonically:
C E Fx A# → “C7” E/B B
German must resolve to a 64 chord in order to avoid parallel fifths. It typically does not
resolve a root-position chord.

❖ French is that, but change the fifth to be major second above the third: C E F# A#
It will sound like it’s a flat fifth, but you will not spell it that way for partwriting.
French can resolve directly to the major or minor root-position embellished chord, or to
the major or minor 64 chord in which the resolution tone is the fifth.
“C7♭5” - B or “C7♭5” - E/B - B

Moving to the next chord

The interval of A6 resolves outward by step - just let the tendency tones be themselves!
They will resolve to the same note, a doubled tone.
This doubled tone will typically be the root of the embellished chord, though you may resolve to
the 64 chord that uses that note as the fifth first, on your way to the embellished chord. Like a
cadential 64 moving to tonic. It typically will move to a triad.

The inner notes (the “third” and the “fifth”) will either resolve by common tone or
move to the nearest chord tone.
Voicing
The “root” is almost always in the bass.
The upper three notes (the “third”, “fifth”, and the augmented sixth) can be in any order.

Jazz chord / lead sheet symbols

There is no “root”; it’s not a normal tertian harmony!

Therefore, what you will see as the jazz chord symbol is what it sounds like
enharmonically.
For example, using the chord above…..
Chord Spelling Sounds like Jazz chord symbol

Italian +6 C E A# A dominant seventh C7

with a missing fifth

German +6 C E (Fx/G) A# A dominant seventh, C7

all factors included

French +6 C E F# A# A dominant seventh C7♭5

with a flat fifth

Take a look in the fake book!

Now you may be wondering - great! So what? How do we even use

these things?
HOW DO I USE THESE?

There’s a few differing opinions here. In short, you can embellish any chord!

A lot of theorists think these should only embellish the dominant, and act as a
pre-dominant, and they do indeed do this quite often! Most modern textbooks will stick to this.

According to Tchaikovsky, these chords should be used to embellish tonic (see page 106
here). Here is an example of Schubert using a Gr+6 to embellish the tonic chord (D. 959):

In jazz theory, these chords can be used in tritone substitutions… substituting a chord a
tritone away, then resolving to a chord a half-step down (A6 resolves out). For example:

Replace the ii chord with a Gr+6 Replace the V chord with a Gr+6:

C Dm G C → C Ab7 G C C Dm G C → C Dm Db7 C
I ii V I I Gr+6 V I I ii V I I ii Gr+6 I

Whatever chord you’re embellishing, one thing always remains the same:
the augmented sixth interval in the chord will resolve out to the root of the chord it is
embellishing, sometimes moving through the 64 chord in which that note is the fifth first.

For example:
C would be embellished by “D♭7” - spelled D♭ F (G, G#/A♭) B
F would be embellished by “G♭7” - spelled G♭ B♭ (C, C#/D♭) E
D would be embellished by “E♭7” - spelled E♭ G (A, A#/B♭) C#

You could embellish every chord in a song if you wanted to….

JINGLE BELLS: THE VERSION YOU NEVER WANTED
OH CHRISTMAS TREE, WHAT HAVE THEY DONE TO YOU?
OH LITTLE TOWN OF BETHLEHAM: NOBODY ASKED FOR THIS

..
HAVE YOURSELF AN AUGMENTED SIXTH CHORD LITTLE CHRISTMAS (listen!)
This is admittedly a little much (but boy would you get some looks at your Christmas gig!).

Very often, perhaps most often, composers use these chords to embellish the dominant, so it
acts as a predominant chord.

This is what most textbooks focus on.

Let’s dig into that!

THE AUGMENTED SIXTH FUNCTIONING AS A
PREDOMINANT
In this scenario, the dominant scale degree is emphasized by approaching it by half-step from
both directions.

When used this way, it is a very strong predominant!

The Italian and French augmented sixth chords can resolve directly to V, or go through a
cadential 64 (i64 or I64) first.

Italian French
“A♭7” Cm/G G Cm “A♭7♭ Cm/G G Cm
5”
It+6 i64 V i
Fr+6 i64 V i
optional!
optional!

The German augmented sixth chord must resolve to a i64 or I64 to avoid parallel fifths.
Its spelling will be determined by the mode of the key (major or minor - what is ^3).

German
“A♭7” Cm/G G Cm

Gr+6 i64 V i

not optional!

When you use the +6 chords as a predominant, you will use these scale degrees:

It+6 ♭6 (le), tonic, #4 (fi)

Fr+6 ♭6 (le), tonic, ^2 (re), #4 (fi)

Gr+6 ♭6 (le), tonic, #2 (ri) OR ♭3 (me), #4 (fi)

Beware of ignoring everything else and just memorizing this… it can lead to things like
doubly-lowered ^6 and ^3, etc. This is useful information to confirm your spellings.
Remember that an +6 chord is simply a “mispelled” dominant 7th chord!
(SLIGHTLY) ENHARMONIC CHORDS - HOW TO TELL THE DIFFERENCE!
When acting as a predominant, the +6 are either almost enharmonic or truly enharmonic to a
few other chords.

Obviously, if you can see how it is spelled, that will answer your question as to what it is.

However, if you can’t see it spelled (for instance, if you are analyzing it aurally, or you only have
jazz chord symbols to go on), here is how you can tell the difference.

Remember:
The It+6 is enharmonic to a dominant 7th with a missing fifth,
and the Gr+6 is enharmonic to a dominant 7th, all factors included!
The Fr+6 has that “flat five” feeling so it’s pretty obvious when it comes around.

The difference between V7/N and the +6

The predominant +6 are enharmonic specifically to the V7/N; look at its resolution to know
what it is!

A♭7 functioning as the V7/N: “A♭7” actually functioning as a +6

it will tonicize the neapolitan. it will resolve ultimately to V.
A♭7 D♭/F G Cm “A♭7” Cm/G G Cm

V7/N N6 V i It+6 -- V i
Gr+6 i64

spelled: A♭ C E♭ G♭ spelled: A♭ C (E♭) F#

“A♭7” C/G G C

It+6 -- V I
Gr+6 I64

spelled: A♭ C (D#) F#
The difference between regular old VI (or borrowed ♭VI) and +6

The VI (or borrowed ♭VI in major) is either a triad or a delta (major) 7th.
It would act like a VI… typically resolve to a predominant (iv or ii*) or maybe to the dominant
(V), or maybe even tonic (i).

The Gr+6 is enharmonic to a dominant 7th.

If built on le (^6 in minor), it would resolve to V.
Aurally, this is obvious if you hear the root resolve down to the dominant, but also
the “seventh” resolve UP to the dominant, as well!

Remember:
--If it’s a triad or delta 7th built up on the minor ^6, it’s just a VI
--If it sounds like a dominant 7th (and particularly if it’s spelled as an A6), it’s an A6

A♭Δ7 functioning as a regular VI chord: “A♭7” actually functioning as a Gr+6

it will be a triad or a delta 7, and will resolve it will sound like a “seventh”, and it will
to a pre-dominant or sometimes V. resolve ultimately to V, usually by way of i64.

Cm A♭Δ7 Fm D° G Cm A♭7 Cm/G G Cm

i VIΔ7 iv ii° V i It+6 -- V i

Gr+6 i64

spelled: A♭ C E♭ G spelled: A♭ C (D#/E♭) F#

Why do they have geographic names?

-I don’t know
-and neither does anyone else
Examples!!!

“Mr. Sandman” by The Chordettes

-A G# C# F# B E A F7 E……
-I V/iii V/vi V/ii V/V V I +6 V…..
A G# C# F# Bm Dm A B E A
I V/iii V/vi V/ii ii iv I V/V V I

“Dedicated To The One I Love” - several different versions!

Mamas and the Papas version

(0:45, 2:05, 2:30)
first refrain: G C D….Eb7 G/D D G
I IV V… +6 I64 V I …..next round is diatonic! compare:

second refrain (1:20): G C D…. Em Bm D G

I IV V…. vi iii V I

Bridge: G7….. Bm G, Bm Em…. Eb7 D….

V7/IV iii I iii vi +6 V

The “5” Royales version

In Ab…. includes traditional Gr+6/^5 in bridge, and a Gr+6/^1 at the bookends!!!!

The Shirelles’ version is completely diatonic!

Compare the three versions…. all the chord progressions function the same, yet really sound
quite different!
“Omoide No Nagisa” ( 想い出の渚 ) (“Memories of Nagisa”) by The Wild Ones
E C#m F#m B :| E C#m G#m F#m C# C7 B…
I vi ii V I vi iii ii V/ii +6 V….

“Summer Emotion” by Toshiki Kadomatsu

at :53, 1:40
G Ab7 G …. Ab7 G
I +6 I +6 I

“Say Goodbye” by Hiroshi Sato - uses an augmented 6th chord to embellish THE IV CHORD!!!
The IV!! I almost died when I found this one

at :42, :51, 1:17, 1:25, etc. In the chorus (“So say goodbyyyye”)
F9 Cb7 Cb7 Bb…. F9 Cb7 Cb7 Bb
In F: I^9 +6 +6 IV…. I^9 +6 +6 IV

“Breezing” by Piper - a very odd use of it… almost sounds like F#m has a
pedal non-chord tone of B or maybe it’s a tall B chord?? Or maybe they just stuck
an extra chord in there for fun. Definitely atypical use but quite interesting!
E, A….. A^7 G#m G# C7 B9?? F#m B E
I IV….. IV^7 iii V/vi +6 V9?? ii V I

“Songs Are Best At Candlelight” from the Phi Mu Alpha songbook -

Around 1:07
In G: Eb7

“The Entertainer” by Scott Joplin

Trio is in F: Db7 (Db F G# B♮)

Schumann’s Dichterliebe, mvt. XII (“Am leuchtenden Sommermorgen”)

In Bb major: Gb7 (Gb Bb C# E♮)
“Sing and Be Happy” by Emory Peck. Penultimate measure: Gr+6 (Cb Eb F# A♮)
Several Great American Songbook Standards! Just a FEW examples (see attached fake book):
All The Way (embellishing the tonic triad!)
Besame Mucho
Hard-Hearted Hannah
I’ve Grown Accustomed To Her Face
My Heart Stood Still
People Will Say We’re In Love
A Pretty Girl Is Like a Melody
Stormy Weather
In The Wee Small Hours

Most Wonderful Time of Year (see attached fake book)

In the second part of the bridge, it tonicizes a bIII (“Scary ghost stories”);
in this arrangement, Bb7 is Gr+6!

LOTS of marches have +6 chords! Most resolve to I64.

Americans We by Henry Fillmore
end of 2nd strain, In F: Db7
Barnum and Bailey’s Favorite by KL King
Very beginning: Ab Fb7 Ab/Eb
(1:00) at trio, in Db: Bbb7
March Indepentia by RB Hall
end of 2nd strain: in Eb: Cb7
Kiefer’s Special by Kiefer
2nd strain, in F: Db7
Semper Fidelis by Sousa (second strain)
in C: Ab7
Something Carthage played:
in Bb: Gb7
More specific examples -http://www.musictheoryexamples.com/25A6.html

Italian
Grieg, Lyric piece, op. 12 no 7, mm21-24
Em: C7 (It: C E A#)

Mozart Fantasy in C minor, K 475, mm 1-2

Cm: Ab7 (It: Ab C F#)
French
Chopin - Prelude in Cm, op 28 no 20, mm 5-7
Cm: Ab7b5 (Fr: Ab C D F#)

Schubert - Zwolf Weiner Deutsche, D 128 no 6, mm 1-12

Cm: Ab7b5 (Fr: Ab C D F#)
German
Mozart - Symphony 40 in G minor, K 550, mvt 1, mm. 9-16
Gm: Eb7 (Eb G Bb C#)