Augmented Sixth Chords page 1

The augmented sixth is a pre-dominant chord -- it usually prepares the arrival of a dominant-function
triad or seventh. Its BASS NOTE (not its root) is the minor form of the submediant -- b^6 -- which is an
upper leading tone to ^5, the dominant (Ex.1). Above it, the raised subdominant ( #^4) provides an
applied lower leading tone to ^5 in an upper octave (Ex. 2).
Ex. 1 Ex. 2
#^4 ^

#w w
b^6 ^ 5
5

& bw w bw w

Besides these two tendency tones, which between them form the interval of the augmented sixth ( b^6
and #^4), every augmented sixth chord contains ^1, which behaves locally as the upper leading tone of
^7 (Ex.3). Suspension of this ^1 is common (Ex. 4).
Ex. 3 Middle voice: Ex. 4
^ ^

# ww w # ww w˙
7 1

& bw ww bw w ˙
6 ––––––––– 5
(implies:) V 4 ––––––––– 3

This 3-voice form of the augmented sixth chord -- b^6, #^4, and ^1 -- is called the Italian augmented
sixth. As with all augmented sixths, the b^6 and #^4 are seldom doubled; the ^1 can be doubled and will
then resolve in contrary motion to ^7 and ^2 (Ex. 5). "Irregular" motion of #^4 to n^4 results from motion
from the Italian sixth directly to a dominant seventh; it is as if the resolution of #^4 to ^5 is elided (Ex. 6).
Ex. 5 Ex. 6

& # www ww # www n www w˙ n ˙

instead of

b w ww b w ww
#6 #6
w 8 - 7
It 3 V It 3 V7 V

Note that we label augmented sixths both with their traditional label (Italian, French,
German) and with the figured bass numerals that identify them more precisely:
Italian: French: German (minor mode): German (major mode):
#6 #6 #6 #6
3 4 5 #4
3 3 3
Augmented Sixth Chords page 2

Addition of ^2 to an Italian augmented sixth yields a French augmented sixth. The added ^2 may
resolve obliquely (Ex. 7). Resolution to the cadential six-four is also possible, in which case ^2 moves up
to ^3; note the upper neighbor figure this creates (Ex. 8).

Ex. 7 Ex. 8
(UN)

˙
& # ww ww w
# ww w ˙
b ww #6
ww b w #6
w˙ ˙
Fr 4 V Fr 4 6 5
3 3 V4 3

Addition of b^3, rather than ^2, to the Italian augmented sixth creates a German augmented sixth (Ex. 9).
The German sixth is native to the minor mode; when it is found in major it is often spelled with #^2 rather
than b^3 (Ex.10); this variant is often called the "doubly-augmented fourth chord". Each variety resolves
as shown.
Ex. 9 Ex. 10

bw ˙ ˙ #w n˙ n˙
& # ww w˙ # ww w˙
b w w n˙ b w #6
w ˙
#6 6 5
#4
Ger ( b)5 6 5 Ger V4 3
V 4 n 3
3
("Doubly augmented fourth")

Resolution of the German sixth directly to a root-position dominant produces parallel fifths which are usually
avoided by composers (Ex. 11). Note that the German sixth is enharmonically equivalent to V7 of bII, and
may resolve as such (Ex. 12). Contrariwise, any dominant seventh chord can be reinterpreted as a German
sixth, creating many new tonal possibilities (Ex. 13).
Ex. 11 Ex. 12 Ex. 13

b w5 bw w
( ) ( )
ww bw ww ww ˙˙ # # ˙˙
5
& # ww #w b ww n b b www w #w ˙ n ˙
b w n ww b ww bw w w #w
bII
Ger ( b)56 (= V of bII)
#
Ger( b#)56 V
5 7
(Ger 6th ) V4
6 7
3 (the Neapolitan) C: V7
3 3