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Society for Music Theory
Supplement to the Theory of Augmented-Sixth Chords

Author(s): Daniel Harrison
Source: Music Theory Spectrum, Vol. 17, No. 2 (Autumn, 1995), pp. 170-195
Published by: Oxford University Press on behalf of the Society for Music Theory
Stable URL: http://www.jstor.org/stable/745870
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Supplement
Supplementtoto
the
the
Theory
Theory
of
of Augmented-Sixth
Augmented-Sixth Chords
Chords
Daniel Harrison
We
We could
could take
takeititasasa asign
signofofprogress
progressthatthat
little
little
remains
remains wider
wider range
rangeof
oftreatments-specifically,
treatments-specifically,those
those
apparent
apparent
in in
theoretically
theoreticallyuncertain
uncertainaboutaboutaugmented-sixth
augmented-sixth chords.
chords.Or Or
we we late
late nineteenth-
nineteenth-and
andearly
early
twentieth-century
twentieth-century
music.
music.
Fittingly,
Fittingly
could
could take
take it
it as
asaasign
signofofcomplacency.
complacency. AtAtoneone
timetime
unbroken
unbroken some of the theoretical methods are similar to those used at
by the
the theorist's
theorist'swhip,
whip,these
thesechords
chords areare
nownow docile
docile
fixtures
fixtures that time1-although, in some cases, it is the common interest
of back-of-the-book
back-of-the-bookchromatic
chromatic harmony,
harmony, content
content in their
in their
ped-
ped- in the analytic problems of the repertory and not shared ide-
igreed
igreed ethnicity
ethnicityand andready
readyfor for
anyanynovice
novice student's
student'sfour-part
four-part ology that is responsible. Another point of contact between
exercises.
exercises. The
Thepainstaking
painstaking(if(iffrequently
frequently pedantic)
pedantic)attentions
attentions this and earlier efforts is a sympathy for speculative and cre
given
given them
them by byearlier
earliergenerations
generations ofof
theorists
theorists nownow
seemseemmis-
mis- ative compositional issues-this in addition to the attentio
guided,
guided, or
or at
atleast
leastunnecessary;
unnecessary; fewfewtoday
todaytrouble
troublethemselves
themselves paid to the usual theoretical and analytical interests. Thi
with
with issues
issues ofofderivation,
derivation,root,root,inversion,
inversion, classification,
classification,andand article is interested, in other words, not only in the behaviors
the
the like.
like. Apparently,
Apparently,the theaugmented-sixth
augmented-sixth hashasbeen
beensuccess-
success- of those augmented-sixth chords found in the repertory, but
fully
fully domesticated.
domesticated. also in the possible behaviors available to that repertory
We
We ought
ought toto confess,
confess,however,
however, that
thatonly
onlythose
thoseaugmented-
augmented- Many were discovered and composed; some, at least to my
sixths
sixths exhibiting
exhibitingtypical
typicaleighteenth-
eighteenth- andand
early
early nineteenth-
nineteenth- knowledge, were not.
century
century behaviors
behaviorshave
havebeen
beentamed.
tamed. Many
Many later
later
nineteenth-
nineteenth- One result of this reconfiguration project is an apparent
century
century behaviors
behaviorsresist
resistthethenormalizing
normalizing discipline
discipline adminis-
adminis- lowering of the membership standards for augmented-sixth
tered
tered their
their earlier
earlierkin
kinand,
and,asasa result,
a result,
often
often endendup up
beingbeing chord status, giving the three ethnic purebreds an infusion
considered
considered unprincipled
unprincipledand andlicentious.
licentious.If If
treated
treated at all
at all
in ain a of new blood for their tight club. To be sure, this influx
modern
modern harmony
harmonytext,text,ititisiswith
with unease
uneaseandandlittle
little
sympathy.
sympathy. diminishes the theoretical pre-eminence of the ethnic chords
Is it
it true,
true, then,
then,that
thatwe
wecancanhandle
handlethese
thesequintessential
quintessential chro-
chro- as they can no longer pretend to sole proprietorship of the
matic
matic chords
chordsonly
onlyififthey
theyare areconfined
confined to to
common-practice
common-practice title "augmented-sixth chord." This is not to say that th
pastures?
pastures? ForForthose
thosethat
thatrunrunfree
freeinin
chromatic
chromatic habitats-such
habitats-such
as some discussed in this article-we seem unable to snare.
'In particular, my work here resembles both in spirit and in substance an
This supplement to the theory of augmented-sixths 1868
re- article by Wilhelm Tappert, "Die ibermassigen Sexten-Accorden,
configures standard teaching in order to accommodate a Allgemeine musikalische Zeitung 3 (1868): 259-62, 266-68, 275-77.
Supplement to the Theory of Augmented-Sixth Chords 171
ethnic
ethnicchords
chords lose
lose
analytic
analytic
significance,
significance,
which which
they cannot
they cannot Example
Example1. Tonal behavior
1. Tonal of a) augmented-sixth
behavior interval;
of a)b
simply
simplyononaccount
accountof of
their
their
abundant
abundant
manifestations
manifestations
in the in the diminished-fifth
diminished-fifthinterval; c) diminished-seventh
interval;interval
c) dimi
tonal
tonalrepertory.
repertory.ButBut
the the
theoretical
theoretical
understanding
understanding
of of a.
augmented-sixth
augmented-sixth chords
chords
needs
needs
to beto
reconstituted
be reconstituted
if the new-
if the new-
comers
comersare
aretoto
be be
integrated
integrated
well well
with with
the charter
the charter
members.members.
Two benefits accrue from this reconstitution. The first is a
more flexible and generous analytic category than we have b.
at present. The second is more direct and subtle entry into 9 o ,.

compositions that feature nonstandard augmented-sixth
chords, freeing the analyst from jerry-rigging ad hoc expla- C.
nations. This benefit is showcased in an analysis of a Brahms

part song that concludes this article. 0 0t 1?
PRELIMINARIES
momentarily
momentarily knowledge of knowledge
artful treatments (i.e.,of elided
artf
and
other
other manipulated
manipulated
resolutions), and letresolutions),
us also acknowledge
The basic mechanics of augmented-sixth chords are well
that
that what what
has been asserted
has aboutbeen the intervals
asserted in question
abo
known and are reprised in Example la. Let us ignore mo-
isis
likewise
likewise
true for the true
inversions
for of those
the intervals,
inversiowhich is
mentarily our knowledge of more complex matters in order
totosay say
that thethat
diminished
the third,
diminished
the augmented fourth, third
and
to focus afresh on elementary ones, one of which is the res-
the
the augmented
augmented
second also resolve second
in contrary also
motionres by
olution of the dissonant interval in contrary motion by Whenever
semitone. dia- I refer to one of these intervals in the
tonic semitone, which is to say that the pitch classes of the
following discussion, its inversion is also implicitly refer-
resolution have a different letter name and scale degree from
enced. For the sake of convenience, I have chosen the
those in the dissonance. This behavior is shared by only two
"prime" forms shown in Example 1 (instead of their inver-
other common dissonant harmonic intervals in tonal music:
sions) because they are met with in the root positions of their
the diminished fifth and the diminished seventh, whose me-
characteristic chords: the augmented-sixth interval in all three
chanics are shown in Examples lb and c.2 Again, let us ignore
ethnic varieties of the augmented-sixth chord, the diminished
fifth in the major-minor seventh chord, and the diminished
2Many intervals are able to fulfill this condition. For example, the doublyseventh in the diminished-seventh chord.3
augmented fourth, occasionally found in German-sixth chords when 3b is
respelled as 02 for resolution into a major-mode cadential 6chord, resolves
by diatonic semitone into a major sixth. One could go even further afield and invite such a study. For present purposes, however, I wish to treat only those
cite such curiosities as the augmented third (resolves into perfect fifth) and intervals that have some recognized role in tonal music, which the augmented
doubly augmented fifth (resolves into major seventh). A study of such interval third, for example, lacks.
behavior would, I think, be analytically helpful in twentieth-century musics 3Many theorists acknowledge problems in ascribing roots to both the
that rely on stepwise voice leading for some portion of their structural co- diminished-seventh chord and the augmented-sixth chords. For example, in
herence. The music of Hindemith, for example, or of Britten would seem to Allen Forte's Tonal Harmony in Concept and Practice (3rd ed. [New York:
172 Music Theory Spectrum
Considering these three intervals together is an interesting This point is crucial in understanding the attention many
and suggestive exercise on a number of counts. For one thing, nineteenth-century composers paid to augmented-sixth
it brings the augmented sixth out of the hinterlands of har- chords, since one of the principal growth areas in nineteenth-
mony pedagogy and lets it bask in the same theoretical pres- century harmony was in chords that possessed these powers.
tige enjoyed by the other two intervals, indubitably the fun- The diminished-seventh chord, for example, which contains
damental harmonic dissonances of tonal music. There are, of two diminished fifths and a diminished seventh, is a central
course, reasons why the augmented sixth does not generally sonority in this repertory. Similarly, the VX9, which grafts a
keep such distinguished company, reasons explored below. VII7 onto a S root, is also a characteristic nineteenth-century
But the fact that the augmented-sixth dissonance resolves in chord of considerable harmonic horsepower. About the pop-
the same way as do the other two intervals indicates that it ularity of the half-diminished seventh and the related V9 little
possesses at least some of their powers of tonal propulsion. needs to be said. With this kind of interest at work, chords
with augmented sixths naturally stood out as ripe for devel-
opment. Their raw tonal energies were identical to those
Holt, Rinehart and Winston, 1979], 171-75), any position of a diminished- having diminished fifths and sevenths; yet their potential had
seventh chord is analyzed as "?7" because of the enharmonic intervallic equal- been locked up by theorists who, observing the constraints
ity of all its inversions. This practice effectively denies the diminished-seventh upon augmented-sixth chords in eighteenth-century music,
a root position. I follow here the practice of others in considering VII7 in prescribed particular harmonizations, positions, and inver-
minor the root position of the diminished-seventh chord (e.g., Edward Al-
sions.4 Unlocking the augmented sixth thus unlocked a rel-
dwell and Carl Schachter, Harmony and Voice Leading, 2nd ed. [Orlando,
Fla.: Harcourt Brace Jovanovich, 1989], 368-75). The problems with
augmented-sixth chords are thornier in that most root-seeking routines yield 4The augmented-sixth chord has been the subject of considerable theo-
"unusual" root positions. For example, some analyze the root of both the retical regulation from the eighteenth century onwards. Rameau had par-
German and Italian sixths as #IV. Many theorists have submitted to such ticular troubles with it, being unable to explain its origin by any of his usual
uncomfortable circumstances. Perhaps the example best known to North- methods; it was hence both rootless and uninvertible. He was reproached in
American theorists is Robert W. Ottman's Advanced Harmony, 1st through this matter by D'Alembert, who, however, could provide little more theo-
3rd eds. (Englewood Cliffs, N.J.: Prentice-Hall, 1961, 1972, 1984). In the retical justification. See Jonathan W. Bernard, "The Principle and the El-
fourth edition (1992) Ottman switched to the now common ethnic abbrevi- ements: Rameau's Controversy with D'Alembert," Journal of Music Theory
ations, although traces of the older notation survive (e.g., p. 249). Others 24 (1980): 53. (See also note 30 in the present article). Among the better
have avoided dealing with the idea of root position (Leonard G. Ratner, known attempts to give roots to augmented-sixth chords are those by F. W.
Harmony: Structure and Style [New York: McGraw Hill, 1962]), have waved Marpurg, who once called them fantastische Accorde and who contructed
the reader off from the issue (Aldwell and Schachter, Harmony and Voice them from a diminished fifth split by a major and a diminished third
Leading, 493-95), or have claimed the chords are rootless (Kostka and Payne, (Historisch-Kritische Beytrage zur Aufnahme der Musik, vol. 5, part 2 [Ber-
Tonal Harmony, 383). Although later in this article I will disfranchise the lin, 1761]: 162, 167-68. A similar method was practiced by one of Marpurg's
augmented-sixth chords as traditional chords-thereby obviating the root antagonists, G. A. Sorge (see Joel Lester, Compositional Theory in the Eigh-
problem-I here subscribe provisionally to the notion that the most common teenth Century [Cambridge, Mass.: Harvard University Press, 1992], 195).
bass positions of the three ethnic augmented-sixth chords function as their One of the most enlightening views of theoretical problems with augmented-
root positions. Cf. Walter Piston, Harmony, 4th ed., revised and expanded sixth chords comes from an early nineteenth-century source: Gottfried
by Mark DeVoto (New York: W. W. Norton, 1978), Kostka and Payne, Tonal Weber's Versuch einer geordneten Theorie der Tonsetzkunst (Mainz: Schott,
Harmony, 383, and Roger Sessions, Harmonic Practice (New York: Harcourt 1817-21; 3rd ed. [1830-32] translated as The Theory of Musical Composition
Brace, 1951), 333-35. by James F. Warner, ed. John Bishop [London: Robert Cocks, 1851]). On pp.
atively
atively untapped
untappedsource
sourcefor
fornew
neweffects
effectsthat
that
relied
relied
upon
upon of
of the
theintervals
intervals
inin
question-what
question-whatSchenker
Schenker
calledcalled
their their
familiar
familiar manners
mannersofofdissonance
dissonanceresolution.
resolution.
Many
Many
of of
these
these "univalence"6-
"univalence"6-within
within
thethe
respective
respective
scalescale
structures.
structures.
This This
effects will be illustrated in this article. univalence
univalencegives
givesthem
them
a supremely
a supremely
strong
strong
position-finding
position-finding
Another, more speculative, attribute of these three in- role.7
role.7 In
Inother
otherwords,
words,because
because
eacheach
interval
interval
only only
occursoccurs
bebe-
tervals might be of interest to votaries of Moritz Hauptmann's tween
tweenaasingle
singlepair
pair
of of
scale
scale
degrees,
degrees,
sounding
sounding
the interval
the interval
theories; all three resolve to Hauptmann's fundamental tonal gives
gives away
awayits
itslocation
location
within
within
the the
given
given
key. key.
Univalence
Univalence
and and
spaces: the diminished fifth to the (major) Third, the dimin- the
the resulting
resultingposition-finding
position-finding
abilities
abilities
are perhaps
are perhaps
the primary
the primary
ished seventh to the (perfect) Fifth, and the augmented sixth reasons
reasonswhy
whythethe
diminished
diminished
fifth
fifth
and and
diminished
diminished
seventh
seventh
rank rank
to the Octave.5 Thus, it might be said that the three dissonant as fundamental dissonances.
intervals deserve their fundamental status by circumscribing, The augmented sixth, on the other hand, is not a creatur
outlining, or otherwise indicating the basic Hauptmannian of a standard scale system; it cannot be found between any
consonant spaces. This point can be developed further while, scale degrees. It is thus "nonvalent," if you will, and withou
at the same time, the augmented sixth can be peeled off from any inherent position-finding powers. This is the reason why
the group so that its distinctive properties can emerge. Schenker, among others, cannot discuss the augmented sixt
It is well known that both the diminished fifth and the in the same breath as he does the diminished fifth and di-
diminished seventh circumscribe not mere generic thirds and minished seventh; he delays discussion of it until the har-
fifths but thirds and fifths between specific scale degrees monic implications of the standard scale systems have been
within standard tonal systems. That is, the third defined by explored.8 Because of its nonvalence, the augmented sixth
the diminished fifth in major spans 1 and 5, and the fifth has rather different position-finding attributes than its two
defined by the diminished seventh in harmonic minor peers, which are explored in the following discussion.
spans i and S. This specificity results from the uniqueness
THE AUGMENTED SIXTH AND ITS POSSIBLE DIATONIC CONTEXTS

215-18 of the Warner-Bishop translation, Weber delves into the recent history
of augmented-sixth lore, taking Marpurg and H. C. Koch to task over their
treatments of the chord, condemning Marpurg's refusal to admit it into the
We begin by attempting to reconcile the augmented
"church style," and ridiculing Koch's scruples about allowable inversions. It to standard scale systems. Although this attempt will
is these niggling qualms about the chord that "locked it up," as it were, for to be unsatisfactory in some crucial respects, it is not a
eighteenth- and nineteenth-century musicians. For the adventurous, locks can exercise; we will discover that the augmented sixth is
always be picked, of course; but abiding by the rules was the only course for
flexible and able to operate in surprising contexts.
the many who wished to work comfortably within the prevailing styles of
composition.
5Moritz Hauptmann, The Nature of Harmony and Metre, trans. and ed. 6Heinrich Schenker, Harmony, edited and annotated by Oswald Jo
W. E. Heathcote (London: Swan Sonnenschein and Co., 1888), 5-8. While translated by Elisabeth Mann Borgese (Chicago: University of Chicag
it is true that the inversion of the three intervals would resolve to inversions 1954), 127.
of the fundamental tonal spaces, which in themselves are not fundamental, 7See Richmond Browne, "Tonal Implications of the Diatonic Set," In
Hauptmann's conception of interval seems to be more accurately described Theory Only 5, nos. 6-7 (July-August 1981): 3-21.
as one of interval class, since intervallic and chordal inversion has little effect 8In Harmony Schenker introduces the diminished fifth and diminished
on his discussion (e.g., pp. 50-51). seventh on p. 126; the augmented-sixth interval appears on p. 279.
The
Themost
mostcongenial
congenial
spots to
spots
locateto
an locate
augmented
an sixth
augmented
in Figure
sixth in1. Augmented sixths generated from one sem
aa standard
standardscalescale
systemsystem
appear to
appear
be at the
to semitones.
be at the That in aThat
semitones. tonal system
is,
is,the
the
interval
intervalcan be
canforce-fit
be force-fit
with minimum
witheffort
minimumonto a effort onto a
scale
scalesystem
system
by anchoring
by anchoring
one of its
one
semitones a semitone to aAugmented
of itstosemitones semitone sixths from major-mode semitones
in
inthe
the
system.
system.
Figure
Figure
1 illustrates.
1 illustrates.
In the left In
column
the are
left
thecolumn are the
two
twodiatonic
diatonicsemitones
semitones
of each of
mode,
eachpresented
mode,inpresented
scale- in Descending
scale- semitone semitone
Descending Augmented
Augmentedsixth
sixthabove
above
degree
degree format
format
and broken
and broken
down bydown
direction.
byEvery semitoneEvery semitoneA -
direction. #6-b
is
is matched
matched by another
by another
in the same
in the
rowsame
an augmented augmented sixth 4-3
row ansixth
away.
away. Accidentals
Accidentals
attached
attached
to a scaleto
degree
a scale
showdegree
if it is show if it is
raised
raised ($)($)
or lowered
or lowered
(b) a half
(b)step
a half
compared
step to
compared
the standard Ascending semitone
to the standard Augmented sixth below
form.9
form.9 9-8 b2-1
This
Thisscheme
scheme
givesgives
each mode
eachfour
modeaugmented
four augmented
sixths- sixths- b-4
surely
surely an an
overabundant
overabundant
supply. supply.
What is more,
What theispossibil-
more, the possibil-
ities
itiesfor
for
chords
chords
containing
containing
augmented
augmented
sixths are even
sixths
greater Augmented
are even greatersixths from minor-mode semitones
than
thanwhatwhat Figure
Figure
1 suggests.
1 suggests.
Because the Because
intervalthe
of reso-
interval of reso-
lution
lution (the
(theoctave)
octave)
is "omnivalent"
is "omnivalent"
in all scale in
systems,
all scale Descending
Descending
the systems, thesemitone
semitone Augmented sixth above
scale
scaledegree
degree uponupon
whichwhich
an augmented
an augmented
sixth resolves
sixth
can beresolves can be 6-S ? 4-S
supported
supported in ain
variety
a variety
of harmonic
of harmonic
formations.formations.
Put another Put another 3-2 01-2
way,
way,the thescale
scale
degreedegree
of resolution
of resolution
could be in could
most cases
be in most cases
either
either thethe
root,
root,
third,third,
or fifthor offifth
a chordof that
a contains
chord thatthat contains thatsemitone
Ascending Augmented sixth below
scale
scaledegree.10
degree.10 This This
situation
situation
is in marked
is incontrast
marked contrast to, say, S-6
to, say,
that with the diminished seventh, where the interval of 2-3 bb4-5
-
resolution-the perfect fifth between 1 and S-is between the

root and fifth of a major or minor tonic (or tonicized) triad, In sum, each of the four augmented sixths belonging to a
or of some other chord type in which the major or minor triad mode can resolve to one of three chord members, creating
is the most characteristic subset.'l twelve possible classes of resolution. Example 2 sketches the
situation for two representative classes: the augmented sixth
over 4-3, shown at a, and the one over 8-4, shown at b. The
9They do not, in other words, indicate what accidental is attached to the
note inhabiting the scale degree. 06, for example, would be an A# in the key
situation at a shows a straightforward consequence of the near
of C major, an Ax in CO major, an Ah in Cb major, etc. omnivalence (limited by doubling restrictions) of the octave
10It is reasonable to stipulate that the scale degree of resolution cannotresolution: each of the three triads can freely support the 4-
be a seventh, ninth, etc. of a chord since such members cannot, according 3 resolution. Most of the augmented sixths of Figure 1 are
to standard teachings, sustain the doubling that augmented-sixth resolution
creates.
"I am thinking here particularly of cases such as VII07 of V7, resolution

where (V) clearly prevents this tonicization. Nonetheless, the sense that
the
the diminished
VII?7 is expected to tonicize the following chord (and hence create seventh at least wants to resolve into a particular perfect fifth
a tem-
between
porary I and 3). The addition of a minor seventh over the major either aof
triad local or global i and S persists.
Example
Example2.2.Resolutions
Resolutionsforfor
twotwo
sample
sample
augmented
augmented
sixths sixths Example 4. Au
a.
J/ t_ -- II _- - , S I-
w -0-
4 3 III11 I VI
root third fifth
9:". l
I " -- -----I V
b.
v.f>/
0 11 |j D
~~~ -I_IIg
a I I "Aug. 6th" V3 I
8 7 VII V IIIIII
root third fifth
? ?
Example 3. Augmented-sixth chord harmonizing 2-5 in minor sider

sider Example
Example3,3,which
whichshows
shows
an an
augmented
augmented
sixth
sixth
involving
involvin
2-5
2-5 in
in minor
minorresolving
resolvingupon
upon
the
the
third
third
of of
a tonic
a tonic
triad,
triad,
an
A n
I IJ I I2 3 action
action noted
notedwith
withdotted
dotted lines
lines
in in
thethe
example.
example.
TheThe
other
other
notesno
of
of the
the augmented-sixth
augmented-sixth chord
chordareare
taken
taken
from
from
the the
German-
German
sixth
sixth collection
collectionassociated
associated with
with
thethe
Db-B
Db-B
interval,
interval,
which
which
is tois
say
say that
that the
theaugmented
augmentedsixth
sixth
under
under2-52-5hashas
familiar
familiar
chordal
chor
ui 6b------ I companions
companionswith
withwhich
whichtoto
carry
carry
outout
its its
work
work
in unfamiliar
in unfamili
circumstances.
circumstances.Example
Example4 4
presents
presents
another
another
instance
instance
of an
of
I "Aug. 6th" I unusual
unusual augmented-sixth
augmented-sixth chord.
chord. In Inthisthis
case,
case,
an augmented
an augmente
sixth
sixth over over3-2 3-2ininminor
minor resolves
resolves uponupon thethe
fifth
fifth
of aof
V7
3 a in
V74 in
position. As in the previous example, the other notes of the
ilarly
ilarlyunfettered.
unfettered.
Example 2b shows
Example
a different, more
2b chord
showsare takena different,
from more
the German-sixth collection. The har-
stricted
strictedsituation.
situation.
Standard teachingStandard
discourages doubling
teaching discourages
monic effects of Examples 3 anddoubling
4 are unusual, but also fresh
the
the leading
leading
tone in a dominant-functioned
tone in a dominant-functioned
entity, so the res- entity,
and attractive; the progressionso theentirely
of parts, res- convincing.1
olution
olution of the 8-1
ofaugmented
the 8-1 sixth augmented
into the third of a Vsixth
chord into
Similar the third progressions
"undiscovered" of a V chord can also be mined
isis
illegitimate,
illegitimate,
and that into and
the rootthat
of a VII into
chord, dubi-
the root from the of
rawamaterial
VII chord, dubi-
of Figure 1. But not all are as inter-
ous.12
ous.12Thus, doubling
Thus, conventions
doubling put a brake
conventions
on possibilities esting
put or a brake
useful on 3possibilities
as Examples and 4; many, in fact, refuse
of resolution.
to stabilize on their appointed scale degree and instead as
Although our attention will soon be drawn towards the to be heard as being built upon another. For instance, it
more familiar structures represented in Figure 1, it is in-
structive to entertain some of the unfamiliar ones, even to the 13Upon hearing these two examples during a public lecture on this topic
point of working out possible progressions. For instance, con- Charles Smith promptly and from memory located compositional manife
tations. Example 3 is realized as the opening progression of Richard Strauss
"Befreit," op. 39 no. 4. The progression in Example 4 can be found in th
12The right of VII to behave in a non-dominant way, such as in a concluding measures of Wolf's "Man sagt mir, deine Mutter woll' es nich
descending-fifth sequence, ought to be reserved. no. 21 from the Italienisches Liederbuch.
difficult
difficulttotopush
push thethe
resolution
resolution
of aof
4-3a augmented
4-3 augmented
sixth upon
sixth upon Figure 2. Minor system (above) "stretched" towards its domi-
the
the fifth
fifthofofa aVIVI
chord
chord(shown
(shownin Example
in Example
2a) and
2a)have
and the
have the nant side (below)
chord
chord really
reallysound
sound like
like
a VI;
a VI;
it would
it would
much much
rather
rather
be heard
be heard
as a local tonic. The same is true for the III chord in the same I I
F ab C et G b D
example. Indeed, informal experiments with the various res- I I I I
olutions suggested by Figure 1 indicate that all tend towards
having the chord of resolution be either a locally dominant-
or a locally tonic-functioned entity.14 Why? ab CIebI
G b D f#
I I I
TONAL FUNCTION OF AUGMENTED SIXTHS
Moritz
Moritz Hauptmann's
Hauptmann'sharmonic
harmonic theories
theoriesagain
againprove
prove
use-use
The
Theprevious
previous discussion
discussion
is predicated
is predicated
upon the fact
upon that
thethe
ful,fact
ful, thisthat
this time
timeto the
toexplain
explainthe the
relationship
relationshipof of
some
somenon-diatonic
non-diat
augmented
augmented sixth
sixth
is not
isannot
interval
an interval
found in afound
standardinscale
a scale
standard
scale degrees
degreesto scale
tostandard
standardscalescale
formations.
formations. Hauptmann
Hauptmann con-co
system,
system, andandthat,
that,
if force-fit
if force-fit
into suchinto
a system,
such onea system,
of ceived
its
ceived keyone of
key structureitsasasa aseries
structure series
ofof
perfect
perfectfifths
fifths
between
between
which
wh
semitones
semitones willwill
involve
involve
a chromatically
a chromatically
altered scale
altered
degree.were
scale
were degree.major
embedded
embedded majorand andminor
minor thirds.
thirds.TheThe
upper
upper
rowrowof
Figure
Figure 1 illustrates
1 illustratesthis situation
this situation
perfectly.
perfectly.
We can, however,
WeFigure
can,22however,
Figure illustrates
illustratesthis
thisstructure
structure using
usingthethe
keykey
of of
C minor
C minor
as
treat
treatthe
the
altered
altered
scale scale
degrees
degrees
with more
with
sensitivity
more sensitivity
if an
weexample.15
an ifPerfect
example.15 we
Perfectfifths
fifthsare
are
located
located
between
between
adjacent
adjac
loosen
loosen the
the
strict
strict
constraints.
constraints.
For it isFor
clearit
that,
is clear
while that,
none while none
upper-case
upper-case letters,
letters,and
andthirds
thirds between
between any any
pair
pair
of of
adjacent
adjacen
of
ofthese
thesesemitones
semitonesis native
is native
to the major
to the or minor
majorscaleor minor
inupper- scale
upper- and in
and lower-case
lower-case letters.
letters.InIntheory,
theory, thethe
fifth-and-third
fifth-and-th
question,
question, some
some
are more
are more
frequent
frequent
and honoredandguests
honoredin the guests incan
relationships
relationships the
can be
beextended
extended infinitely
infinitelyin in
both
both
directions,
direction
diatonic
diatonic household
householdthan than
others.others.
In particular,
In particular,
#4-S is an es- #4-S
thereby is an es-
thereby encompassing
encompassingallallpossible
possible keys;
keys;
whatwhatFigure
Figure
2 shows
2 sho
pecially
pecially important
importantand popular
and popular
chromatic chromatic
caller, as it caller,
creates as it creates
is aa segment
segment from
fromthat
thatline
linedelimiting
delimiting one one
particular
particular
key.key
tonicizations
tonicizations of and
of modulations
and modulationsto the dominant
to the key.
dominant
b 2-Because
Because key. b 2- nominally
Hauptmann
Hauptmann nominally employed
employed just
just
intonation
intonationto t
ii is
isanother
another friendly
friendly
visitor,
visitor,
responsible
responsible
for Neapolitan
foref- Neapolitan
derive
derive scale ef-
scale members,
members, his
hiskey
key structures
structures have
have
remarkable
remark
fects.
fects. Some
Someof the
of others
the others
are encountered
are encountered
far less frequently
far less
"wigglefrequently
"wiggle room"-the
room"-theability
abilitytoto bebeshifted
shifted oneone
position
position
along
al
than
thanthese.
these.Indeed,
Indeed,
b7 in b7
minor
in minor
(e.g., Gb (e.g.,
in A minor)
Gb inisthe
Asoinfinite
minor) is so
fifth-and-third line without loss of the structural
rare
rareasas
to to
be be
mere mere
theoretical
theoretical
fiction. fiction.
All this is All
by way
thisof is by way
integrity of theof
key. The bottom row of Figure 2 shows such
saying
saying that
that
while
while
the augmented
the augmented
sixth may sixth
not fitmay
easily
not
intofit easily into having moved one position to the right
a shift, the structure
the
thediatonic
diatonicscale
scale
system
system
of a key,
of ita finds
key,moreit finds
comfortable
more comfortable
(towards the dominant side). The minor third between F and
accommodation in some locations than it does in others.
ab is lost while a major third between D and f# (H4) is gained.
It is in this "stretched" C-minor key system that Hauptmann
140ne can try to repudiate these tendencies with compositional rhetoric-

that is, by putting these progressions into real musical contexts. Nonetheless, 15Hauptmann's minor key is based on the harmonic minor scale. Con-
considerable rhetorical effort seems necessary in order successfully to stabilize
cerning Hauptmann's derivation of fifths and thirds, especially with respect
progressions such as those shown in Example 2a. to minor, see Hauptmann, Harmony and Metre, 14-21.
Figure 3. Key system "stretched" in both directions; after Cyrill of

of these
thesescale
scale
degrees
degrees
are under
are under
the tonic
thecontrol
tonic control
of C. Twoof C. Two
Kistler augmented-sixth
augmented-sixth intervals
intervals
are found
are found
in this in
system:
this system:
one be- one be-
tween
tweenf# f#andand
ab ab
(#4(#4
and and
b8), and
b8),another
and another
betweenbetween
db and db and
bb (b2
(b2and
and? ).19
? ).19
db F ab C eb G b D f#
Figure
Figure3 3offers
offers
a way
a way
to welcome
to welcome
two foreign,
two foreign,
chromatic
chromatic
I I
scale
scaledegrees
degreesinto
into
a standard
a standard
scale system,
scale system,
allowingallowing
us us
thereby
therebytoto
privilege
privilege
those
those
Figure
Figure
1 behaviors
1 behaviors
in whichin
they
which they
participate.
participate. In In
addition,
addition,
it suggests
it suggests
an explanation
an explanation
for why the
for why the
found
foundthe originthe
of the augmented
origin sixth-in
of thisthe
example,augmented
the augmented
augmented
sixth-insixth
sixth
tends
tends
tothis
bestow
to bestow
tonic or
tonic
example,dominant
or dominant
function
the function
interval
interval
between at and
between
f#.16 But this observation
at and is actually
f#.16 But upon
upon the
thisthepitch
pitchclass
class
of resolution.
observation of resolution.
Bothisaugmented
Both augmented
actually sixths sixths
beside
beside
the point;the
the intriguing
point;element the
here is the
intriguing
stretched found
foundininFigure
element Figure3here
are
3 are
anchored
anchored
isto functionally
the to functionally
significant
stretched significant
scale scale
key
keysystemsystem
itself, which Hauptmann
itself, conceived
which degrees
degreeswithin
as still basedHauptmann within thethe
conceived core,
core,
unstretched
unstretched
as system.
stillsystem.
That based
is, #4
Thatis is, #4 is
inin
the original
the C-minor
original system. ForC-minor
Hauptmann, as longsystem.
as attached
attached
For toHauptmann,
tob 6,
b a6,crucial
a crucial
transmitter
transmitter
of as
subdominant
of subdominant
long function,
as function,
ab
abwas still
was in thestill
picture, then
in C the
minor was picture, while
while
still operative. then C bb2 2is is
minor attached
attached
to #t,
was to the
#t, quintessential
the quintessential
still dominantdominant
operative. scale scale
Were
Werethe systemtheright-shifted
system once again,
right-shifted
so that ab were lost degree.
degree.
once The
The
again, behaviors
behaviors
of these
so of these
thatsignificant
significant
abscale
were degrees
scale de-
degrees de-
lost
and
andA gained,A then
gained,
the C-minor system
then wouldthehave passed
C-minor termine
termine the
system the tonal
tonal
function
function
wouldof theofaugmented
the augmented
have sixths attached
sixths attached
passed
into
intoa G minor-major
a G minor-major
system. But a single right-shifted
system.
sys- Butto
to them.
them.b6,
b6,
a singleforfor
example,
example,
in moving
in moving
right-shifted to 5 discharges
to 5 discharges
sub-
sys- sub-
tem,
tem,even though
even it contains
though
#4, is still under
it the
contains
control of #4, dominant
dominant function
is still functioneither
under either
upon upon
dominant
the dominant
(as in a Phrygian
control (as in a of
Phrygian
the
theoriginal
original
tonic.17 tonic.17 cadence)
cadence)ororupon
upontonictonic
(as in(as
a plagal
in a plagal
cadence);
cadence);
the aug- the aug-
For
Fora variety
a of
variety
reasons-none germane
of reasons-none
to the present mented
mented
germanesixth
sixth
b6-#4,
b6-#4,
then,
tothen,
also exhibits
thealso exhibits
these functional
present these functional
undertaking-Hauptmann
undertaking-Hauptmann behaviors.20
behaviors.20 The
The
former,
former,
disallowed subdominant shifting disallowed subdominant shiftingdominantizing
dominantizing
motion motion
leads directly
leads directly
inin
the minor
thekey. minor
Some of his followers,
key. however,Some ignored to
to the
thestandard
of his followers, standard
augmented-sixth
augmented-sixth
however, chords,
chords,
insofar insofar
as the Ital-
ignored as the Ital-
this
this
prohibition
prohibition
and explored the consequences
and nonetheless. ian, French, and German
explored the consequences nonetheless. sixths all resolve to dominant-
Figure
Figure
3, for example,
3, forshows Cyrill
example,
Kistler's doubly stretched
shows Cyrill functioned chords. The
Kistler's latter, tonicizing
doubly motion, although
stretched
system,
system,which has major-third
which extensions
hasonmajor-third
both sides.18 In rare before the mid-nineteenth
extensions on both sides.18 century, leads to wonderful
In
addition
addition
to having f#toas #4,
having
this system alsof# has dbas
as b2 #4,
as this system also has db as b2 as
aamajor-third
major-third
extension towards the
extension
subdominant side; bothtowards the subdominant side; both
'9It is perhaps not inappropriate, in connection with note 2 above, to
observe that Kistler's doubly stretched system contains an augmented third
between F# and Dl (t4 and 12).
16Harmony
16Harmony and Metre, 28-33and and 120-23.
Metre, 28-33 and 120-23. 20I am using the term "subdominant" here to blanket both "pre-dominant"
17This
17This point is discussed
point in greater
is detail
discussed
in Daniel Harrison,
in Harmonic behavior
greater detail in(e.g., IV6-V) and
Daniel "pretonic" behavior
Harrison, (e.g., IV-I). This usage is
Harmonic
Function
Function in Chromaticin MusicChromatic
(Chicago: University of Chicago
Music Press, 1994),
(Chicago: University of Chicago
consistent with the Riemannian Press,
tradition from which I1994),
am drawing. Later,
122-23. taking a cue from William Rothstein ("The True Principles for the Practice
'8Cyrill Kistler, Harmonielehre fir Lehrende, Lernende und zum wirk- of Harmony: Or, Schulz, Schenker, and the Stufe," paper read at the Second
lichen Selbstunterrichte, 2nd ed. (Heilbronn: C. F. Schmidt, 1898), translated International Schenker Symposium at the Mannes College of Music, New
as A System of Harmony by Amanda Schreiber (London: Haas and Co., York City, March, 1992), I reserve "subdominant" for plagal, "pretonic"
1899), 74. behavior, using "pre-dominant" for other cases.
Example 5. Liszt, "Sonetto 123 del Petrarca," mm. 82-84

a.
3
3 * ? 3
lib b ? 8 |; ? l ; f |l;r 1i jf r I
0:b~b C I 0 f rlf jF7~j
,a|
-69: |1 0'k c I> x\ I 11 4EI V V V
b.
t^. -.I"Aug. 6th" --

I "Aug. 6th" I
treatments such as thatmented

mentedsixth
found
it participates
sixthin
in also takes
Example
it
on dominant
parti func
sures of Liszt's "Sonetto
tion.
tion. 123
Another del
example
Another Petrarca,"
from Liszt's work, examp w
the ebb from the
question shown at the last
last asterisk.
rhetoricalrhetorical The
climax in the symphonic poem
climaxanaly
Orpheus (Ex-
brings ample
ample
out the underlying 6), is an exemplary
6),illustration.
is an
augmented-sixt Here,exemp
the placement
passage, respelling the 7-8 in chord
ofof the
7-8 bass emphasizes
in the in order
the dominant-to-tonic
bass characte emto
ofof
volvement of t4 and lb, the progression.
of the Ab progression.
major in the
degrees are indicatedThe Thesituation situation
with in the Orpheus example
open is,in
notehead from athpurel
and their resolutionstatistical
into
statistical a tonic-functio
standpoint, rather rare-so
standpoint
much so that it seems
lighted by the dotted downright
downright
lines.21irregular; the idea thatirregular;
augmented-sixth chords
The other augmented progress
progress to dominants and
sixth to
not to tonics
found domina is deeply
in en- F
t7 and b2. $7 being a trenched.22 Yet more than a few theorists have tried to en-
dominant-functioned
22For examples of how and

21Aldwell and Schachter (Harmony "exceptional" tonic-resolving
Voice cases are discusse
Leading
and even finessed inchord."
"common-tone augmented-sixth current textbooks, see Aldwell
In and Schachter, of
light Harmony
of Wolf's "Man sagt mir, and Voice Leading, Mutter
deine 496. The authors state woll'
matter-of-factly
es that nich
such thin
is appropriate to point outcan that
happen, but the
the discussion has none of the depth that marks their
common-tone au i
a principal harmonic motivetroduction
of to augmented-sixths
that song. as "Chromatic Preparation for V" (the to
Example 6. Liszt, Orpheus, mm. 194-206
194
AJ 4 _ 4 4 .
v I I I I I _ _
^200 de
r - I - o!oi decresc.e rit.
A9 A rt r I i o
Aug. 6 (dim. 3)
Aug. 6 (dim. 3)
franchise dominant-functioned augmented-sixth

augmented-sixth
augmented-sixth chordchords
in Weber's
chord as notational
own in Weber'ssystem. o
theoretical equals of subdominant-functionedThe
The firstfirst
derivation ones.
derivation
is from The
a major-minor
is from seventha with
major-mi
B root
most telling attempt is also the first: (B7) (B7)thatthat
Gottfried functionsfunctions
as V7 of E major
Weber's asand
der- V7 E minor.
of E Themajor
root a
ivation of the chords from two possible is
isomitted
omitted
sources,and a minor
and
?II7 ninth
ora minor
has been appended,
V7, ninth buthas
the b
in his Versuch einer geordneten Theorie der
crucial
crucialfeatureTonsetzkunst
feature
is the lowering
is the of
of the lowering
chordal fifth from
of Ftf
theto ch
1817.23 Example 7 explains the derivation F~.
F~.TheThe for a particular
augmented-sixth
augmented-sixth
interval created byinterval
this lowering cr
is
isthus
thusbetweenbetween
b2 (F) and 01b2 (D#).(F)
Thisandis a dominant-
01 (D#)
functioned
functioned augmented-sixth
augmented-sixth
level heading at the beginning of the chapter on p. 478). Joel Lester, in chord. Weber provideschord.
another W
derivation,
derivation,
Harmony in Tonal Music, vol. 2 (New York: Knopf, in which
1982), in
the basic
93-94, which chord the
provides is a B half-diminished
basic chord i
but one illustration of a tonic-resolving augmented-sixth chord accompanied
by two short paragraphs of text. Finally, Kostka
in
in ? and
? 89, but
89, Payne
later
butdisallows
later segregate
the disallows any
possibility of VII7
thein ? possibility
148 #7. (A later reference
of VII7 i
unusual augmented-sixth behaviors, including tonic
to
tothis resolution,
this
disqualification in ?into
disqualification a separate
202 wrongly in
refers
? the
202reader
wrongly
to ? 38 #7 instead
refers
chapter (383-91). While giving the topic more of
attention,
ofto to
? 148?#7.148 this
This error quarantine
#7. isThis
in all the Germanis
error is
andin
English
all editions.)
the German
Janna
nonetheless a subtle and effective abnormalizing tactic.
Saslaw
Saslaw summarizes
summarizes
and discusses aspects
and of discusses
Weber's theoryaspects
pertinent tooftheWe
23See Weber, The Theory of Musical Composition,
present
present ? discussion
89-94.
discussion Weber
in "Gottfried Weberini-
in "Gottfried
and Multiple Meaning,"
Weber Theoria
and5 M
(1990-91):
tially allows any half-diminished seventh to parent an74-103.
augmented-sixth chord
Example
Example7. 7.
Analytic
Analytic
possibilities
possibilities
for German
for German
augmented-sixth
augmented-sixth rules
rulesabout
about
assigning
assigning
harmonic harmonic
meaning to chords
meaning
skewed to chords skew
chord
chordaccording
according
to Gottfried
to Gottfried
WeberWeber
(from The
(from
Theory
TheofTheory
Musical of Musical interpretations-perhaps
interpretations-perhaps unintentionally-towards
unintentionally-towards
the ?II7 the ?I
Composition,
Composition, ? 202)
? 202) analysis.
analysis. Briefly
Briefly
put, in put,
a typical
inmodulatory
a typical situation
modulatory
in- situation in-
volving
volving rootroot
motionmotion
by ascending
by fifth
ascending
(tonic to fifth
dominant,
(tonic
for to dominant, f
example)
example) or root
or motion
root motion
between relative
betweenkeys, arelative
?II7 of some
keys, a ?II7 of som
key
keyX X would
would
generally
generally
be more closely
be morerelatedclosely
to the original
related to the origin
key
keythan
than
a V7 aofV7
someofkey
some
a fifthkey
higher
a fifth
than X. higher
In concretethan X. In concre
B7
B7
terms,
terms, consider
consider
ExampleExample
7 and notice7 that
andthe notice
tonic ofthat
the the tonic of the
E: V7
?II7
?II7analysis
analysis
(A minor)
(A minor)
is a fifth is
lower
a fifth
than thatlower
of the than
V7 that of the V7
e: V7
analysis
analysis (E minor).
(E minor).
Say now Say
that this
now chord
thatis encountered
this chord is encounter
b67
in
ina aC-major
C-majorcontext.
context.
Weber would
Weber
invariably
wouldidentify
invariably
it as identify it a
a: ?O17
aa ?II
?IIin in
A minor
A minor
because because
that key isthat
more closely
key is related
more to closely related to
CCthan
than is Eis
minor
E minor
in Weber's
in structural
Weber'stopography.26
structural Con-
topography.26 Con
seventh functioning as II7 in A minor (?b7). Here again, the ditions
ditions under
under
which which
Weber would
Weber
analyze
would
an augmented-
analyze an augmente
root is omitted and a ninth added; the alteration in this case sixth
sixth chord
chord
as V7 as
are V7
rare,are
in that
rare,
theyin
involve
thatdirect
they involve direc
involves raising the chordal third from D to D t, thereby descending-fifth
descending-fifth modulatory
modulatory
motion within
motion
the tonalwithin
space the tonal spac
creating an augmented sixth between l, (F) and 04 (DO). This (tonic
(tonicto subdominant,
to subdominant,for example),
fora comparatively
example), aun- comparatively un
is the subdominant-functioned augmented-sixth chord.24 usual
usualprocedure.
procedure.
Hence, because
Hence, of because
both modulatory
of bothhabitsmodulatory hab
Despite being given theoretical substance alongside in
incomposition
composition and related
and concepts
related of concepts
tonal topography
of tonal
in topography in
subdominant-functioned augmented-sixth chords, dominant- theory,
theory, the the
subdominant-functioned
subdominant-functionedaugmented-sixthaugmented-sixth
chord chor
functioned augmented-sixths are extremely rare in Weber's prevailed
prevailed analytically
analytically
over the dominant-functioned
over the dominant-functioned
one in one in
analytic work. He was not, however, prejudicially averse to Weber's
Weber's theory.
theory.
This unequal
Thisanalytic
unequal relationship
analyticbetween
relationship between
them.25 Rather, his elaborate but extraordinarily sensitive the
thetwotwotheoretical
theoretical
equals effectively
equals effectively
made the V7 analysis
made the V7 analysis
non-normative and unusual.
24The functional designation is my own. Weber's derivation of the Looking at this issue from a different perspective, it is
augmented-sixth chord from ?II7 was widely adopted. See, for example, Simon remarkable, given the aforementioned modulatory habits o
Sechter, Die Grundsdtze der musikalischen Komposition, 3 vols. (Leipzig: eighteenth-century composition, that a dominant-functione
Breitkopf and Hartel, 1853-54), first volume ed. and trans. Carl Christian
augmented-sixth chord would even be considered as a th
Miller as The Correct Order of Fundamental Harmonies (New York: W. A.
Pond, 1871), 148-51; Arnold Schoenberg, Theory of Harmony, trans. Roy oretical entity given its analytic rarity.27 And since Weber
E. Carter (Berkeley: University of California Press, 1978), 246.
25I have found two examples: Weber's Figure 1911 (p. 356 in the Warner- 26Weber discusses this issue, using these very keys as examples, on p
Bishop edition), an abstract part-writing specimen; and Weber's Figure 234 343-44. Weber's topography is alluded to in Fred Lerdahl's "Tonal Pit
(pp. 404-9, annotated on pp. 383-87), an analysis of an accompanied vocal Space," Music Perception 5 (1988): 315-49. See especially Figure 17a on
quartet of his own composition ("Polimeter"). Weber spells out his reasoning 332, which reproduces a mirror-image of Weber's space. Cf. Saslaw, "G
for choosing the dominant-functioned interpretation in "Polimeter" on p. 384. tfried Weber and Multiple Meaning," 92.
Saslaw ("Gottfried Weber and Multiple Meaning") discusses the "Polimeter" 270ne explanation might be that many early theoretical explanations
passage extensively on pp. 89-91. augmented-sixth chords connected them to the VII diminished triad, wh
provided
providedno nojustification
justificationas to
aswhy
to why
such such
a thinga thing
could exist,
could exist, involve
involve augmented-sixths
augmented-sixths
harmonized
harmonized
in the "German"
in thefash-
"German" fash-
it
it is
is impossible
impossible to to
determine
determine his motivation
his motivation
in thisinmatter.
this matter. ion.
ion.The
The"French"
"French"
harmonization
harmonization
found infound
the quintet
in the
can quintet can
Nevertheless,
Nevertheless, it it
seems
seems
no no
coincidence
coincidence
that prominent
that prominent
exam- exam- lead
leadone
oneaway
away
(as it(as
diditPiston)
did Piston)
from considering
from considering
the chord the chord
ples
ples ofofdominant-functioned
dominant-functioned augmented-sixth
augmented-sixthchordschords
begin tobegin to aa species
speciesof of
augmented
augmented
sixth and
sixth
towards
and atowards
V, 7 interpretation
a V, 7 interpretation
appear
appeararound
around thethe
time
time
of Weber's
of Weber's
treatise.
treatise.
Schubert's
Schubert's
works, works, in
in which
whichthethe
chord
chord
is in 3isposition.
in 3 position.
Although Although
this analysisthis analysis
for
for instance,
instance,abound
abound
with
with
them.
them.
Well-known
Well-known
examples
examples
are are clearly
clearlypoints
points
to the
to dominant
the dominant
origin oforigin
the chord,
of the
it does
chord,
not it does not
the
the concluding
concludinggestures
gestures
of the
of the
String
String
Quintet,
Quintet,
D. 956/IV,
D. 956/IV,
the the do
dososoinin
order
order
to connect
to connect
it to other
it toaugmented-sixth
other augmented-sixth
chords; chords;
A-major Piano Sonata, D. 959/I, and "Der Atlas" from rather,
rather, it it
stresses
stresses
its seventh-chord
its seventh-chord
structure.structure.
The augmented
The augmented
Schwanengesang, D. 957, no. 8.28 Within the body of a move- sixth
sixthcreated
createdbetween
between
the major
the third
majorandthird
diminished
and diminished
fifth fifth
ment, mm. 722-34 of the C-major Symphony, D. 944/IV, of
ofthe
thechord
chord
is anisaccidental,
an accidental,
not a primary
not a quality
primaryof the
quality of the
provides another fine illustration. All but the quintet example chord.
chord.This
This
point
point
leads leads
us naturally
us naturally
to consider
towhat
consider
kind ofwhat kind of
structures
structures cancan
be labeled
be labeled
augmented-sixth
augmented-sixth
chords. chords.
in turn was connected to the V triad. See, for instance, Marpurg, Historisch-
Kritische Beytrdge, 162. Besides Weber, Louis and Thuille also recognize a TYPES OF AUGMENTED-SIXTH CHORDS
dominant-functioned augmented-sixth chord; see Richard Isadore Schwartz,
"An Annotated English Translation of Harmonielehre of Rudolf Louis and
Ludwig Tuille" (Ph.D. diss., Washington University, 1982), 286-91. So does Considering the enormous influence Central
H. K. Andrews in The Oxford Harmony (London: Oxford University Press, musicians have had on the development of mo
1950), vol. 2, 57-62, who follows Alfred Day in this matter (A Treatise on theory in North America, it is surprising to note
Harmony [London: Cramer, Beale, and Co.: 1845], 121-27). One of the
tinuing presence in our discourse of an English
earliest satisfactory explanations of the augmented-sixth chord, that by
Johann Philipp Kirnberger, also awarded it dominant function ("The True quirk: the naming of three augmented-sixth c
Principles for the Practice of Harmony," trans. David W. Beach and Jiirgen the "Italian," "French," and "German" ethnic labels. John
Thym, Journal of Music Theory 23 [1979]: 186-88. Louis and Thuille assert Wall Calcott, in A Musical Grammar (London, 1806), seems
that the possibility of both dominant- and subdominant-functioned to have been the first to coin these terms, and for the reasons
augmented-sixth chords is responsible for the idea that an augmented-sixth
chord has two roots. One could see how Weber's derivation of the chord from
which many have long suspected-namely, ethnic stereo-
two different sources could lead to this idea, save that Weber viewed these typing.
two sources as potentials, one of which was eliminated in the act of analysis.
The Music of France, Italy, and Germany, cannot be illustrated in
By contrast, double-root theories seem to imply that the sources are actuals,
a smaller compass than by the use of these three Chords. The fee-
as if they were fundamental basses. Schenker discusses the augmented-sixth
chord, for example, as a fusion of elements from ?II7 and V7 where the V7
bleness of the French sixth, compared with the elegance of the Ital-
is from a key a fifth higher than the ?II7, as in Weber's formulation (Harmony, ian, and the strength of the German, leaves no doubt of their su-
277-78). Alfred Day also held to a double-root theory involving fusion (A perior excellence. The admirable genius of Graun knew when to
Treatise, 122). Weber, by contrast, viewed the augmented-sixth chord as de- employ Italian sweetness, and when to change it to German force.29
rived in its entirety from either of the two sources, not as a fusion of both.
28The quintet example is cited in Piston, Harmony, 426, and Andrews,
Oxford Harmony, vol. 2, 61. Aldwell and Schachter, Harmony and Voice 29Callcott, Musical Grammar, 1st American ed. (Boston: Manning & Lor-
Leading, 496, and Lester, Harmony in Tonal Music, vol. 2, 94, cite the ing, 1810), 239n. Calcott alludes to another reason why the French sixth is
A-major sonata. so named; he claims that because it "is only found in the theory of Rameau,
Along
Along with
withthe
theethnic
ethnicnames,
names,
current
current
practice
practice
has has
taken
taken Example
Example
8. Louis and Thuille's augmented-sixth chord
8. types L
the
the English
Englishpredilection
predilection
for
for
recognizing
recognizing
these
these
as the
as the
onlyonly
a. b. c. d. e. f.
types
types of
of augmented-sixth
augmented-sixth chords.
chords.
Continental
Continental
practice
practice
is is
more flexible in this matter. While the "big three"
augmented-sixth chords are invariably discussed (usually Y IIs I 14 I I I t I i is I1
named by their figured-bass signature), other (might we say

"cosmopolitan"?) types of augmented-sixth chord also oc-
casionally make an appearance. In their Harmonielehre, for correspond to the wel
example, Rudolf Louis and Ludwig Thuille recognize six dis- a defective Italian or i
tinct types, illustrated in Example 8.30 Versions a, b, and e c and f are novel an
compositional use of v
but Ebenezer Prout c
it may be properly termed the French Sixth" (238-39). Although I have not
made an exhaustive search of Rameau's works, this statement appears du-
shown in Example 9, w
bious. The chord is conspicuously absent from the Traite, and Matthew To some extent, it is h
Shirlaw (The Theory of Harmony [London: Novello, 1917], 242, 279) points since it seems to be a
out its omission in Rameau's theories in general as well as in Rameau's own a sustained E-major tr
compositions, going so far as to state that "the German form of the chord
phasis on passing moti
. . . must have been for Rameau particularly embarrassing. It was impossible
True, it is not difficu
for Rameau to explain this chord and its natural resolution on the Dominant,
either by means of double 'employment' or any other device known to him" question to a German
(242). Although Calcott's ethnic names were used sporadically by other En- tones with its chord o
glish theorists (e.g., William Crotch, Elements of Musical Composition, 2nd ship that bolsters th
ed. [London: Longman, 1830], 54), it was not until Ebenezer Prout's Har-
present augmented-six
mony: Its Theory and Practice (London: Augener, 1889) that the names
rather constrained to
became firmly ensconced in English theoretical discourse, along with a chau-
vinistic update of Calcott's stereotyping: the well-known parall
As students are very apt to confuse the names of these three forms of the looms here, the fifth i
augmented sixth, the following artificial "aid to memory" may be found not perfect. The 6 cho
useful:--the three forms correspond to the character of the music of the
This choice contribute
three countries-Italian music is the simplest; and the "Italian sixth" is
resolution of the augm
the simplest form of the chord ... French music is the most piquant, and
so is the "French sixth," with the discord between the upper generator, us to question the stru
and its seventh . . . Lastly, German music is the richest and fullest in augmented-sixth vis-a
character; and the "German sixth" is richer in its effect than either of the Example 8f at first
others (203n).
tionship to the French
30Stuttgart: Grininger, 1907. 4th ed., 1913. See Richard Isadore Schwartz,
man; that is, the G#t
"An Annotated English Translation," 274-76. An unusually broad concep-
tion of augmented-sixth chord types, motivated by issues in contemporary dominant to follow, al
harmony, is also found in Vincent Persichetti, Twentieth-Century Harmony:
Creative Aspects and Practice (New York: W. W. Norton, 1961), 109-11. 3lProut, Harmony, 208.
Example 9. Verdi, Requiem; Kyrie, mm. 77-81
Tenor So lo J J i F I r , r
Ky- ri- e e- le- i- son
i",
~C,k'* -t ?e~~~~~~~~~~~~~~
J~~~~~~
n_J'*jn
BU,: ^^ j ~ i F 7
sixth.
sixth. ButBut
version
version
f has intervallic
f hasproperties
intervallic that connect it Thuille that
properties mentionconnect
the Tristan chord
it in connection with version
strongly
strongly to thetoGerman
the German
sixth. Examplesixth.
10 demonstrates
Example 10 demonstrates this this interpretation-partly be-
this f, they nonetheless wave off
close
closerelationship,
relationship,
showing that
showing
version fthat
is an inversion
version of f cause
is an of the habit typical
inversion ofof the time to hear the A as struc-
aaGerman
German sixth sixth
in termsinof terms
its internal
of intervallic
its internal
adjacencies. tural and theadjacencies.
intervallic GI$ as passing, but also because they find that
No
Noother
othernamename
suggesting
suggesting
itself easily, Iitself
dub versioneasily, version
f the I dub f, by virtue
version f of
theits two common tones with the dom-
"dual"
"dual" German-sixth
German-sixthchord in recognition
chord in of recognition
its inversional inant
of its(B and GO), is more easily heard as a dominant sonority
inversional
intervallic
intervallic relationship
relationship
to the German to sixth.
the German sixth. with two auxiliary tones surrounding the root (F and DO).33
In
Incontrast
contrast
to version
to version
c, the dual c,
German-sixth
the dual chord does They thus chord
German-sixth want to hear
does version f more as an enhanced dom-
have
have compositional
compositional existence-inexistence-in
one of the mostone famousof inant
thethan most famous
as an augmented sixth; since they hear the Tristan
passages
passages in nineteenth-century
in nineteenth-century music, in fact (see music,
Examplein chord
fact as subdominant-functioned,
(see Example they cannot rationalize an
11).
11). The
The
"Tristan"
"Tristan"
chord, marked
chord,withmarked
the asteriskwith explanation
in the the that involves
asterisk in the the G$ as the chordal tone.
example,
example, is identical
is identical
to the chord toshown
the in
chord
Example lOb, the in It
shown is true that alOb,
Example textbook
theresolution of the Tristan chord
prototype
prototype of theofdual
the
German-sixth.32
dual German-sixth.32
Although Louis and Althoughwould involve maintaining
Louis and the common tones Gl and B, and
that such a resolution would support Louis and Thuille's con
32Nota
32NotaBene:
Bene:
HavingHaving
now a theoretically
now a viable
theoretically
rationale for understand-
tention that the chord is an enhanced dominant. But Wagner
viable rationale for understand-
ing
ingthe
theactual
actual
spellingspelling
of the Tristan
of chord,
the Tristan
we need no chord,
longer enharmonically
we need no solution
longeris pointedly to disobey the
enharmonically "Law of the Shorte
convert the chord into an F half-diminished seventh chord and then wonder Way" in order to enhance the tension and release from the
at its "irregular" resolution. Such enharmonic conversions have been neces-
sitated by the domination of the ethnic-sixth chords and the concomitant
exclusion of other chord types. Yet, at the heart of the matter, it is as improper 33The presence of two tones in common with the chord of resolution
to call the Tristan chord a half-diminished seventh chord as it is to call a the same reason it is difficult to hear the augmented-sixth chord leading t
German sixth a dominant-seventh chord; its spelling indicates its functional the cadential 6 in the Verdi excerpt (Example 9) as a freestanding harmo
meaning in the same way that the German-sixth spelling does. structure.
Example 10. Definition of the "dual" German augmented-sixth augmented-sixth

augmented-sixth areare
correct,
correct,
but but
scruples
scruples
about about
its resoluti
its
chord are misplaced.
a. b.
This discussion could continue in this vein for a while,
pointing out the limits of the current ethnically fixed stable
A4 _ - - P5 CI __ of augmented-sixth chords and proposing the inclusion of
M6 ( M6 such things as the dual German-sixth. It would also seem
natural to release augmented-sixth chords from the tradi-
:- PPS
-41: 0 Co A4 C l)
1~~~~~~~~~~~~~~~
tionally strong theoretical restraints upon inversion by citing
many examples from the late nineteenth century that fea-
ture diminished-third chords or other manifestations of
augmented-sixth inversion. But perhaps the point t
made
Example 11. Wagner, Prelude to Tristan undhere is not that
Isolde, mm. we 1-3
ought to expand the categor
augmented-sixth chord in order to include additional ch
types, but that we need to reconstitute this category
something more flexible and generous. This program
clearly been suggested from the outset of this article, a
now taken up in earnest.
*
PROPOSAL
Tristan chord to the V7. That is, the voice exchange here-the
Under the heading of "augmented-sixth chord" o
infamous perpetrator of improper resolution-ensures appear the
any chord that depends upon the augmented
chord's functional independence by avoiding common-tone
diminished-third) interval for all or most of its tona
connections.34 Thus, intuitions that the Tristan chord is an the interval appears within a governing k
Where
material, although we can propose that Figure 1 de
constraining
34An exhaustive summary of Tristan-chord lore is found in Martin Vogel, limits. In this way, not only are the "b
enfranchised but also those beautiful examples f
Der Tristan-Akkord und die Krise der modernen Harmonielehre (Disseldorf:
Gesellschaft zur Forderung der systematischen Musikwissenschaft,shown in
1962). Vo- Examples 5 and 6, as well as the intere
gel documents all manner of analytic approaches except one that recognizes
specimens displayed in Examples 3 and 4. The in
the Tristan chord as the dual of the German-sixth chord. A dual relationship
constitution of augmented-sixth chords need not be
to the enharmonically equivalent dominant-seventh is recognized (107-10),
or prescribed
which association was revived by Benjamin Boretz in "Metavariations: Part since it is the augmented-sixth inter
IV, Analytic Fallout," Perspectives of New Music 11 (Fall-Winter, 1972): 162.
But this necessitates an enharmonic reinterpretation of the Tristan chord as
with the
a half-diminished seventh, something that Wagner's notation pointedly dis-Tristan chord. But then, impishly, he purposely gets bo
courages; see note 32 above. Schoenberg, in Theory of Harmony in(255-57),
issues of root and derivation, an excuse to demonstrate his fon
also recognizes the dual German sixth, and even mentions it in "vagrant chords," which are to him "most amusing fellows."
connection
Example
Example12.
12.Richard
RichardStrauss,
Strauss,
Till Till
Eulenspiegel,
Eulenspiegel,
mm. 46-49
mm. 46-49 become
becomequite recognizable
quite and salient.
recognizable
Consider, for in- and
stance,
stance,the role augmented-sixth
the role chords
augmented-sixth
play in a short se-
lustig
quence
quencefrom Franck's
from Piece heroique
Franck's
shown in Example
Piece
13. her
The
Thechordschords
in question are marked
in question
with an asterisk inare
the mar
score
scoreat a; they
at are re-spelled
a; they at b both
are
to highlight
re-spelled
(by open at
noteheads)
noteheads) the propulsive the
augmented-sixth
propulsive
interval betweenaugme
b2
b2and #1and of the #1
local keys
of and the
the dual-German
local intervallic
keys and
structure.
structure. Finally, by keeping
Finally,
an ear on thebyaugmented-sixth
keeping an
* interval,
interval,we are able better
wetoare understand
able some of
better
the tonal to un
forces
forces in the opening
in of theSchoenberg's
opening
Chamber Symphony,
of Schoenb
op.
op.9, cited
9, in Example
cited 14a. in
The analysis
Exampleat b points out
14a.
that The
gives
gives the
the chord
chordits
itspowers;
powers;the
the
remaining
remainingnotes
notes
accompany
accompany
two
two augmented-sixth
augmented-sixth
intervals propel the chord inintervals
m. 3 into p
the
the generating
generatinginterval
intervaland
andprovide
provide
it it
with
with
different
different
sonorous
sonorous
its
itsresolution
resolution
in m. 4; one is shown
in withm. open 4;
noteheads,
one is s
shadings.
shadings. In
Inthis
thisway
waythe
thedual
dualGerman
Germansixth
sixth
is welcomed,
is welcomed,
and
and the other
the with other
filled. Surely, with
this is just as
filled.
much an Sur
along
along with
with any
anyother
otherconfiguration
configuration that
that a composer
a composermight
might
be be
augmented-sixth
augmented-sixthchord as any other thatchord
has been discussed
as any ot
tempted
tempted toto use.
use.At
Atthis
thispoint,
point,wewehave
haveenough
enoughto be
to able
be able
to to
so far.
cut
cut away
away the
thepuzzlement
puzzlementsurrounding
surrounding thethechord
chord
marked
markedby by
the
the asterisk
asteriskin inExample
Example1212and
andanalyze
analyzeit it
as as
an an
augmented-
augmented- * * *
sixth
sixth chord,
chord,with
withthe
theinterval
intervalinin
question
question
built
built
at the
at the
4-3 4-3
semitone
semitone ininFFmajor
majorand
andaccompanied
accompanied byby
notes
notes
thatthat
givegive
the the
chord
chord aa dual
dualGerman
Germanflavor.35
flavor.35Indeed,
Indeed,
under
under
thisthis
regime
regime
all all The expository speed of the las
manner
manner of of previously
previouslyunassuming
unassuming augmented-sixth
augmented-sixth behaviors
behaviors sufficient to have raised some d
like so many billboards on the
35Kostka
35Kostka and
andPayne
Payne(Tonal
(TonalHarmony,
Harmony, 385)
385)
alsoalso
identify
identify
the the
"Till"
"Till"
chord
chord
constitution so far is perhaps no
as aa type
type of
ofaugmented-sixth
augmented-sixthchord. chord.Graham
Graham H. H.
Phipps,
Phipps,
in "The
in "The
Tritone
Tritone
as as enfranchised augmented-sixth ch
Equivalency:
Equivalency:AAContextual
ContextualPerspective
Perspective forfor
Approaching
Approaching Schoenberg's
Schoenberg's Mu- Mu- variously unusual tonal function
sic,"
sic," Journal
JournalofofMusicology
Musicology4,4,(1985):
(1985):
60,60,
alsoalso
cites
cites
thethe
"Till"
"Till"
chord
chord
as anas an wild herd can be done gently;
augmented-sixth,
augmented-sixth,but buthehecalls
callsthe
the
resolution
resolution
to to
thetheF-major
F-major
chordchord
"deceptive"
"deceptive" in light of previous discussions o
and
and also
also ignores
ignoresthe
theTill
Tillchord's
chord'sspelling
spelling
when
when
describing
describing
it asita as
half-
a half-
segregation by functional attrib
diminished
diminished seventh
seventhchord.
chord.Although
Althoughnotnot
strictly
strictly
a dual
a dual
German
Germansixthsixth
(D, (D,
would
would have
have to
tobe
bea aC#
C#ininorder
order
for
for
thethe
chord
chordto have
to have
the the
requisite
requisite
interval
interval Figure 4 presents three functio
structure),
structure), the
theTill
Tillchord
chordcan
canstill
still
bebe
understood
understood
as the
as the
dualdual
of aof
German
a German
sixthsixth sixth chords. As the figure deno
with
with doubly
doublyaugmented
augmentedfourth.
fourth.SeeSee
Aldwell
Aldwell
andand
Schachter,
Schachter,
Harmony
Harmony
and and from judgments concerning the h
Voice
Voice Leading,
Leading,482-83.
482-83.The
Thesimilarity
similarity
of of
thethe
TillTill
chord
chord
andand
the the
Tristan
Tristan
chord
chord
augmented-sixth chord and of its
has
has been
been noted
notedby
byWilliam
WilliamAustin,
Austin,Music
Musicin in
thethe
Twentieth
Twentieth
Century
Century
(New(New
York:York:
W. W.
W. Norton,
Norton,1966),
1966),140.
140.Robert
RobertGauldin
Gauldin
reinforces
reinforces
thisthis
connection
connection
and as
and as
speaking, it is not the function
well
well makes
makes aagood
goodcase
casefor
forconsidering
considering
TillTill
as aaswhole
a whole
to be
to abe
satire
a satire
on Tristan
on Tristan per se that is of ultimate interes
("A
("A Concealed
ConcealedMusical
MusicalSatire:
Satire:A APossible
Possible
Till-Tristan
Till-Tristan
Connection,"
Connection,"
unpub-
unpub- In all the examples cited in this
lished MS). chord sets up either a tonic- or a
186
186 Music
MusicTheory
TheorySpectrum
Spectrum
Example
Example13.
13.Franck,
Franck,
Piece
Piece
heroque,
heroque,
mm. 14-18
mm. 14-18
a.
14
3 * 3 *
^t^ FT:" X '^E^ L^O "_ =L

I
[^'* Ai >: ,^ i A> a A >12 >;: > -
b.:ft( W b^^ | ti}^ i (ii)t

Example
Example
14. Schoenberg, Chamber Symphony, mm. 1-414. Schoenberg, Chamb
a.
I^ u . 1
v 0 ~~~~~~~~~~~~~~~~~~~~~O1 ;
- tlo
11o t v
~ tl ~
b. ~ ~ ~ ~ ~ -~ 11
0 O0 0~~~~~~~~~~F
of resolution. If the latter, then the augmented-sixth

the sense of chord
tonal motion and urge toward
perforce is subdominant in function. A when tonic-functioned
augmented-sixth chords resolve. Th
chord cannot sustain the level of dissonance and activity
dominant as-
functions are inappropriate to de
sociated with an augmented sixth, and of twoan consecutive
augmented-sixth chord that resolve
dominant-functioned chords in the same key Thecannot
term "subdominant"
produce may be uncom
although
althoughone
one
of of
thethe
traditional
traditional
derivations
derivations
of augmented- Figure 4. Functional types of augmented-sixth chords
of augmented-
sixth
sixthchords
chords is from
is from
subdominant
subdominant
chordschords
(the #IV7
(the
of #IV7
Ottman,
of Ottman,
Resolution Functional
Functional Type
Type
et
et al.),36
al.),36one
onecancan
be hard
be hard
pressed
pressed
not to not
hearto
thehear the secondary-Augmented-sixth
secondary- Augmented-sixth
dominant
dominant element
elementin an
inaugmented-sixth
an augmented-sixth
chord (#4
chord
as I-of-
(#4 as I-of-
Dominant Tonic Authentic
3)
3) and
andthus
thusnot
not
to hear
to hear
somesome
type of
type
dominant
of dominant
function function
as as
Subdominant Tonic Plagal
aa result.37
result.37 It It
is for
is for
thisthis
reason
reason
that Figure
that Figure
4 calls this
4 calls
functional
this functional
Subdominant Dominant Predominant
behavior
behavior"pre-dominant,"
"pre-dominant," unloading
unloading
some unneeded
some unneeded
freight freight
from
from"subdominant"
"subdominant"and and
stressing
stressing
the dominant
the dominant
setup powers
setup powers
of
of augmented-sixth
augmented-sixth chords.38
chords.38 The b staff highlights these intervals in open noteheads. The
How can one tell that a chord of resolution is dominant? operation of the series, which involves continual enharmonic
Considerations of local and global key relations are, of reinterpretations complicated by elided resolutions of #4, can
course, paramount. But there are other means as well. Major- be read from the arrows in the example. Augmented-sixth
minor seventh chords, for example, are habitual transmitters chords are shown on the b staff, and their chords of resolution
of dominant function, so a motion from augmented sixth to (major-minor sevenths in 4 position) are shown in the left-
major-minor seventh naturally is classified as pre-dominant. hand portion of the a staff; the activity of augmented-
(This situation is illustrated in the case of one of the "lab sixth resolution is indicated by diagonal arrows. After res-
specimens" shown in Example 4.) A cadential 6 also conveys olution, these 4 chords are enharmonically reconfigured as
dominant function (or impending dominant function, if one augmented-sixth chords, a process shown by the vertical ar-
labels the first part of the cadential motion as 1 I); it, too, rows from a to b. Liszt takes advantage of enharmonic equiv-
invites analysis as pre-dominant. Insofar as these motions are alence here to dovetail a series of pre-dominant augmented-
the typical behaviors of the traditional ethnic sixth chords, we sixth chords with their chords of resolution.
need not dwell upon this matter much longer. But an inter- At least two circumstances can discourage dominant func-
esting twist involving the enharmonic equivalence of the tion for the chord of resolution, and hence open up the pos-
German-sixth and the major-minor seventh is found in Ex- sibility of dominant function for an augmented-sixth chord.
ample 15, and it deserves some comment. Underlying the The first is the unlikelihood that a minor triad can transmit
passage is a series of augmented-sixth chords whose essences dominant function. It is for this reason that, as in Franck's
are expressed by diminished thirds buried in the sound mass. Piece heroique shown in Example 13, the augmented-sixth
chords tonicize their chords of resolution.39 What, then, is the
36Also of note here is the traditionally close association of augmented-sixth

function of the augmented-sixth chords-dominant or sub-
chords with IV6 chords in Phrygian cadences. See, for example, Aldwell and dominant? Here we can attend to clues in the voicing and
Schachter, Harmony and Voice Leading, 479; Forte, Tonal Harmony in Con- figuration of the chords. Notice in particular the left-hand
cept and Practice, 353; Lester, Harmony in Tonal Music, vol. 2, 85. upper part, which contains a conspicuous motion up to and
37Joel Lester, for example, writes that "the majority of augmented-sixth
ultimately through the leading tone. This motion plainly high-
chords used in tonal music are in fact altered dominants of the dominant"
(Harmony in Tonal Music, vol. 2, 93).
lights the dominant-functioned aspect of the chord, and, to
38Note 20 above discusses the idea of breaking subdominant function apart
in this manner. 39A similar case is found in the "lab specimen" in Example 3.
Example 15. Liszt, Weinen, Klagen, Sorgen, Zagen, mm. 179-83

a.
a.
,^:^b C'' 1: - #'>1 > Vte #+t"8Esim.
Xb bbbb t i/i- 1b1 i1 1B ? l

my
my mind,
mind,tips
tipsthe
thebalance
balancetowards
towards
hearing
hearing
the the
augmented-
augmented-
contents
contentswith withthethe
tools
tools
developed
developed
so far.so
The
far.
chord
The ofchord
res- o
sixth chords as dominant- rather than subdominant- olution
olutionisis tonic-again,
tonic-again,on account
on account
of theof
doubled
the doubled
third pro-thir
functioned, making for an authentic functional type.ducedducedby bythe
theaction
action
of one
of ofonethe
ofaugmented
the augmented
sixths insixths
the
The Till Eulenspiegel citation in Example 12 illustrates the chord.
preceding
preceding chord.TheThe
two two
augmented
augmented
sixths operating
sixths operatin
in m.
other circumstance discouraging dominant function. The 3 are creatures of dominant and subdominant functions re-
aug-
mented sixth resolves into the third of the followingspectively.
major The Gb-E interval depends on the dominant func-
triad. Such a doubling pointedly rejects dominant possibilities
tion of E as 1, while the B -G# augmented sixth is built upon
because the doubled third would be, in fact, a doubled4 lead-
as a subdominant element. Dominant function clearly has
ing tone. Hence, the F-major chord is tonic-functioned. Anal-
the upper hand in this chord, as the downbeat of m. 3 contains
the basic elements of a V7 in F: C, E, and Bb. The Gb also
ysis of the augmented-sixth chord is less routine. Consider-
able subdominant powers are transmitted by b6 and by the there is in an augmented-sixth relationship with E,
sounding
placement of the prominent subdominant element 4 in the relationship strengthens rather than ambiguates the
which
bass. Yet the first occurrence of the Till motive (rehearsal
already2established dominant function of the chord. The sec-
+ 14) interrupts a powerful V7 of F, which the resolution to
ond augmented sixth of the chord is only activated on the
F in Example 12 can be heard to satisfy. Thus, dominant second beat of m. 3, and its diatonic member, 4, is buried
function can still be heard to persist in the Till chord-inatthe
least
sound mass. Dominant function clearly prevails in this
in this incarnation-transmitted by E as S. To my mind at
augmented-sixth chord, meaning that it manifests the authen-
least, the subdominant elements largely subdue E, leading to
tic functional type.
a plagal interpretation. Now that the disarray brought on by the influx of new types
Finally, the opening of Schoenberg's Chamber Symphony,of augmented-sixth chords has been reduced by reclassifying
op. 9, cited in Example 14 as a kind of marvel among chord types, it is appropriate here to show off what this re-
augmented-sixth chord usage, can also yield its functional
organized analytic device can accomplish by turning attention
to a composition where the augmented sixth is a conspicuous sense

sense of
of constriction
constrictionand
andsuppression
suppressioninin
the
the
poem.
poem.
In In
thethe
text,
text,
tonal force, Brahms's part song "Im Herbst," op. 104 no. 5, images
images of
of "under,"
"under,""below,"
"below,"and
and"beneath"
"beneath"
areare
constantly
constantly
the score of which appears in Example 16. displayed
displayed in
in the
thefirst
firsttwo
twoverses.
verses.(Figure
(Figure
5 offers
5 offers
thethe
text
text
andand
translation
translation of
ofthe
thepoem.)
poem.)InInthe
thefirst,
first,
leaves
leaves
fallfall
andand
thethe
heart
heart
BRAHMS: "IM HERBST," OP. 104 NO. 5 sinks;
sinks; then
then aa journey
journeytotothe
thesouth
south(below)
(below)
is is
likened
likened
with
with
oneone
to the
the grave
grave (six
(sixfeet
feetunder,
under,presumably).
presumably). In In
thethe
second
second
verse,
verse,
Problems with a traditional augmented-sixth chord anal- fog
fog enshrouds
enshroudsthethesun
sunand
andthe
theheart,
heart,and
andexistence
existence
itself
itself
is is
ysis crop up in the very first measures, as a pre-dominant described
described as
as deeply
deeplywithdrawn.
withdrawn.Moreover,
Moreover, thethelanguage
languagethethe
German sixth in an unusual 4 position at the end of m. 1 poet
poet uses
uses seems
seemsoverly
overlyterse,
terse,asasifif
language
language itself
itself
were
werere-re-
resolves irregularly to a cadential 6 in m. 2. It takes but little pressed
pressed and
and enshrouded.
enshrouded.TheThefirst
first sentence
sentenceof of
text-all
text-all
of of
twotwo
effort to uncover a more normal underlying structure; the iambic
iambic feet-is
feet-isremarkable
remarkableininitsitssonic
soniceconomy:
economy: Ernst
Ernst
ist ist
derder
structural notes of the bass and top voices could be considered Herbst.
Herbst. The
The situation
situationeases
easesconsiderably
considerably in in
thethethird
third
verse,
verse,
to be offset, so that the bass line is grounded upon the open- as discussed
discussed shortly,
shortly,but
butthe
theoverall
overallimpression
impression
of of
thethe
first
first
twotwo
ing Ab, while the top is fastened to the Ft at the end of the is one
one of
of aa laconic
laconicsolemnity
solemnitythatthatthreatens
threatens
to to
lapse
lapse
into
into
an an
measure. In this interpretation, what appears then in the impassive
impassive silence
silence-as
-asififthe
thepoet
poetwere
wereone
one
with
withthethe
soundless
soundless
opening measures is no more than a horizontalized German- bards
bards journeying
journeyingto tothe
thesouth.
south.
sixth chord. Yet the very notion of such a horizontalization Downward tendencies are also quite evident in the
destabilizes the idea of the augmented-sixth chord being a melody-notably, in the diminished-third unfolding in the
mere passing verticality, as is generally taught. soprano that begins every half verse. Other conspicuous
Ironically, this freeing-up of the augmented sixth as a tech- examples are the soprano line in mm. 3-8, which, although
nical device serves to repress other types of musical expres- broken by an upward octave transfer at the end of m. 6, is
sion. The augmented sixth in this piece is an idee fixe which nonetheless preoccupied (obsessed, even) with descent and
seems to preclude other musical thoughts. Each half verse decline. The beginning of the second half-verse in mm. 10-13
(mm. 1, 10, 20, and 30) begins with the same unfolding of seems to promise some alleviation from the downward spiral.
a melodic diminished third as found in m. 1, during which Yet the hopeful ascent in these measures seems only to have
some augmented-sixth interval is sounded harmonically. (In the attainment of Eb 5 in mind since the melody begins there-
the German 4 chord at the end of m. 1, a harmonic aug- after another deliberate descent to Ft4, traversing the same
mented sixth is formed between the soprano and tenor.) Ut- space as was covered in mm. 7-8.40
terances cannot begin without touching upon the augmented What role, then, does the augmented-sixth chord play in
sixth-nor end for that matter, since each verse closes with this story of autumnal depression? It seems to be at once both
an authentic cadence approached through a German sixth. a symptom and a cure, a paradoxical and intriguing status that
Before dealing with other augmented-sixth matters, I
should enlarge upon what is meant by saying that the aug-
40Another important musical aspect of constriction and obsession is the
mented sixth represses other musical expressions. For the constant alto and tenor motion in parallel thirds. These voices thus have no
obsession with the chord, insofar as it crowds out (and hence freedom of action on their own; they move in lockstep, each is unable to break
represses) other possibilities, is a consequence of a pervading free from the constraining power of the other.
190190
Music Theory Spectrum
Music Theory Spectrum
Example
Example
16. Brahms, "Im Herbst," op. 104 no. 516. Brahms, "Im H
P - af - P
J|ib' r' 'r'r I Jb r _

Soprano
& Alto
Ernst ist der Herbst. Und wenn die Blat- ter fallen, sinkt auch das Herz, sinkt
Bleich ist der Tag, und bias- se Ne- bel schleiern die Son- ne, die Son- ne
-^bbV- rf
-~ 1' Irf y
. I f" f' I f I J I -J
Tenor
& Bass
''15, d oI e P dolce
Ir r r r rr I: rr 4
auch das Herz zu trubem Weh herab. Still ist die Flur, und nach dem Sii- den wallen die
wie die Her- zen, wie die Her- zen ein. Friih kommt die Nacht: denn alle Krif- te feiern, u
b-- Ifr r r - I- "- - r f r r- - r

14 -p sempre
dolce
1'r tIr ': I .i

San- ger stumm, wie nach dem Grab, wie nach dem Grab. Sanft wird der Mensch
^[r I I
tief ver- schlos- sen ruht das Sein, ruht das Sein.er Mensch
\J. 8. B - 51
: F - I ' If' F' i
22 espress. cresc. f
siII - n - r 1J r aI, 1 iw- 1 J S

sieht die Son- ne sinken, er ahnt, er ahnt, des Le- bens wie des Jah- - res Schluss.
:i r r r r'If I~- ' f f'

Example 16 [continued].
30 f
AT- cresc.
Feucht- wird das Aug, doch in der Tra- ne Blin- ken, doch in der Tra- ne Blin- ken ent-
r r I#-1^ 'i
36
j rp : dolce dim.
rf r J J L
-stromt _ entstromt des Her- zens se- lig- ster Er- guss, se- lig- ster Er- guss.
t'|o v- I
explains the attention

Measure 10bef
pervades the chord.
piece-symbo
Again
cumstances the poet
both finds
register h
sonority, as sixth
already between
sugge
duction. Indeed,E Brahms
-major ex
tri
olutions and treatments
grees 4 and in
unblock, to find ways
functional out t
sures. The fact thatto
seems the G
augu
usual horizontal array
push, in
since m
b
illustrations abound.
in its Clear
atmos
5 is an attempt, via
soprano the usu
reach
way out. Ironically, this at
downward motion;
41The this m
reversal
peated in the remainder
adumbrate thisof
p
Figure 5. Karl Groth, "Im Herbst." Translation by the author
Ernst
Ernstist
ist
der
der
Herbst.
Herbst.
Und wenn
Und wenn
die blatter
die fallen,
blatter fallen, Solemn is the Autumn. And when the leaves fall
sinkt auch das Herz zu trubem Weh herab. sinks also the heart to troubled woe.
Still ist die Flur, und nach dem Suden wallen Still is the meadow, and towards the south journey
die Sanger stumm, wie nach dem Grab. the bards in silence, as if to the grave.
Bleich ist der Tag, und blasse Nebel schleiern Pale is the day, and colorless fog enshrouds
die Sonne wie die Herzen ein. both sun and hearts.
Fruh kommt die Nacht: denn alle Krafte feiern, Early comes the night: for all Powers celebrate
und tief verschlossen ruht das Sein. and deeply withdrawn rests the being.
Sanft wird der Mensch. Er sieht die Sonne sinken, Soft becomes the man. He sees the sun sink;
er ahnt des Lebens wie des Jahres Schluss. he foresees the end of life and of the year.
Feucht wird das Aug, doch in der Trane Blinken Moist becomes the eye, yet in the tear-sparkle
entstromt des Herzens seligster Erguss. gushes the heart's most blessed outpouring.
depressing turn, forcing the soprano to plod downwards yet

stresses members of the augmented-sixth chord at each down-
again, the bass following reluctantly after. Evidently, the
beat, as Example 18 indicates with a beam. The return of
plagal therapy provided only temporary relief. these opening, pre-dominant augmented-sixth concerns re-
The harmonic goal of the descent in m. 17 is the same
inforces the sense of constriction and expressive repression
German 4 sonority met with in m. 1, and the last three pitches
at work in the song.
of the descent (Ab, G, F#) reprise the opening pitches of m.An apparently slight difference between the ending of the
1.42 Furthermore, the soprano in these mm. 14-17 pointedly first and second verses makes for a profound difference in
one's evaluation of this constriction. In the first verse at
42I have already remarked above on the similarities between the soprano
m. 17, Brahms repeats the closing phrase of the poem, "w
nach dem Grab," setting "wie" to a standard German-sixth
descents in mm. 7-8 and 14-17; i.e., they traverse the same space between
Eb5 and F#4. But they also share the Ab,-G-F# motive introduced in m. chord
1, and thereby normalizing the approach to the cadent
although in mm. 7-8 it is slightly obscured by surface elaboration. The desire
6. In the second verse, however, the closing phrase, "ruht d
to reuse this melodic idea (or the compositional need to restrict vocabulary)
thus explains the Neapolitan-sixth in G minor found at the end of m. 7; this
chord accommodates Ab as b2. This particular situation prompts additional tively. The Neapolitan could be regarded in general as one element o
theorizing about the Neapolitan sixth as manifesting augmented-sixth ener- horizontalized diminished third between bl and #1. This line of thinking
gies, which I will but briefly sketch. The enharmonic relationshipimplicit of in Schenker's discussion of b2 in Free Composition (trans. and
augmented-sixth chord and V7 of the Neapolitan already places them into a Oster [New York: Longman, 1979], 71 and Fig. 74). The excerpt fr
Ernst
special relationship, but the fact that, in normal resolution, b6 supportedLiszt's
by Orpheus in Example 6, which has an augmented-sixth chord involvi
a Neapolitan traverses a diminished third to p7 links the two more sugges- b2 and p7 flowing out of a Neapolitan chord, also supports this hypoth
Example 17. Plagal augmented-sixth chord and

andthen
thenbybyresolution
resolution
to a to
major
a major
cadential
cadential
6 in m. 6
21,inafter
m. 21,
which
whichCCmajor
major
blossoms
blossoms
freely.
freely.
At
At the
themoment
moment of acknowledgement-the
of acknowledgement-the presentment
presentmen
of
$b
b ,,,i----,
,,,i----,-------
------- Death that Autumn has caused-the obsession with the
augmented-sixth chord becomes extreme; mm. 24-26 c
a sequence emphasizing pre-dominant German-sixth ch
pbw, S ----------'- I Had this augmented-sixth supersaturation occurred
Aug. 6th (subdominant) Tonic first two verses, its significance would have been truly si
in the less depressing atmosphere of the C-major third
however, this sequence-while still disturbing-seem
threatening. For one thing, the sequence rises, and,
Sein," contains one less syllable, and brahms consequently over, occurs at a point where the first two verses were
omits the German-sixth. The German 4 thus progresses di- into continued downward motion. For another, the
rectly to the cadential 6 just as it did in mm. 1-2. The con- augmented-sixth chord in m. 24 is, from a pitch standpo
clusion of the second verse thus makes its affinity to the a new entity. Whereas previous augmented sixths in the pi
opening more explicit and pronounced, its message of con- were formed between Ab and Ft, that in m. 24 is betw
striction and repression more plaintive, and its final empty Bb and Gt.
fifth more desolate. The enharmonic equivalence of G# and Ab is something
The third verse is quite different from the first two. At- to note here. In the first two verses, a melodic Ab is, with
tention is drawn away from the observed world and towards one exception, always obliged to drop to G. This is so even
an observing person. Then, the source of the pervasive mel- when an augmented-sixth chord is not involved, as in m. 4.
ancholy is identified and acknowledged (identification of Au- The transformation of Ab into G# in the third verse, how-
tumn with Death). And, finally, this acknowledgment permits ever, entails a change of directional attribute; G# and its
the poet at last to escape the constriction of the first two rising tendency encapsulate the breaking-through that the
verses, symbolized by gushing outpouring from the previously third verse is about.
enshrouded heart. Significantly, the beginning of the second part of the ver
The crucial musical difference between the third and the in m. 30, while still structured around the melodic diminish
first two verses is mode. It seems trite to point to a change third motive, now has that motive traversing the new Bbl-G
from minor to major as symbolizing a change in emotional space. As in the previous verses, the final chord of the mot
climate for the better, but there is no doubt that the ste- involves a harmonic augmented-sixth interval, this time b
reotype holds true in this case. What effect does this change tween the tenor and soprano. Yet a change in function
have on the augmented-sixth chord obsession? Initially, only attribute is quite significant here; for the first time in the so
a slight one, as the verse begins with the familiar diminished- the authentic functional type is heard, as Example 19 illus
third unfolding and pre-dominant German-4-to-cadential-6 trates. Here accrues one of the benefits of a reconstituted
resolution. The mode shift is signaled subtly by having the augmented-sixth category, since the chord in question w
passing soprano G4 in m. 20 harmonized by a C-major triad otherwise be analyzed not as an augmented-sixth but as a
Example 18. "Im Herbst," soprano line, mm. 14-17
.1 J. i f IJ- J J.
of
of F.
F. In
Inthe
thecontext
context of of
thethe
song,song,
however,
however,this chord
this chord
is in- is in- At
Atfirst
first
glance,
glance,
the reappearance
the reappearance
of the dark, pre- of the
tended
tendedto tobebejust
justas as
much
muchan augmented-sixth
an augmented-sixth as those
as those
met met dominant
dominant Ab-F#Ab-F#
augmented augmented
sixth in m. 40 might
sixth seem
in tom. 40 m
with
with earlier-but
earlier-but only
onlybyby breaking
breakingfreefree
fromfromtraditional
traditional
chord chord indicate
indicatea relapse.
a relapse.
But a breakthrough
But a breakthrough
has occurred, giving has occurr
taxonomies
taxonomiescan canoneoneappreciate
appreciate this.43
this.43 this
thisreappearance
reappearancean aspect an
of reconciliation.
aspect ofThe reconciliation.
mode is
The
The opening-up
opening-updepicted
depicted in the
in the
thirdthird
verseverse
receives
receives
won- won- still
still C major,
C major,
which guards
which against
guards
relapsesagainst
of C-minorrelapses
issues. of C-m
derful
derfulmusical
musicalsupport.
support. Both
Bothsoprano
soprano
and bass
and lines
bass engage
lines engage Alto
Alto andand
tenortenor
pointedlypointedly
move in a contrary-motion
move in avoice contrary-mo
in
in lengthy
lengthyascents
ascents in in
mm.mm.31-37,
31-37,
and and
the previously
the previously
bound-bound- exchange,
exchange, refusing
refusing
to revert to
totheir
revert
C-minortoparallel-motion
their C-minor pa
together
togetheraltoaltoand
and tenor
tenorlines
lines
break
break
looseloose
fromfromeach other
each other
and and pathology.
pathology. Finally,
Finally,
as the soprano
as the
prepares
soprano
to settle prepares
down to
pursue
pursuelargely
largelyindependent
independent courses.
courses.
MostMost
significantly,
significantly,
after after upon
upon E4-another
E4-another
gentle coming-to-terms
gentle coming-to-terms
with previous wi
the
the soprano
sopranobreaks
breaks through
through herherprevious
previous
ceiling
ceiling
of El 5ofand
El 5 and downward
downward obsessions-the
obsessions-the
alto overlaps her
altoandoverlaps
sings G4. her an
shoots
shootsupwards
upwardstoto G5G5 in in
m. m.
35, 35,
she she
is inism.in37m.pushed
37 pushed
higherhigher Not
Not to to
be confused
be confused
with a symbol
with of repression
a symbol (forcing
of the
repression
yet
yet again
againby
bythe
theagency
agency
of of
thethe
Bb-GO
Bb-GO
augmented
augmented
sixth-sixth- soprano
soprano down),
down),
the alto'sthe
overlap
alto's
is rather
overlap
a symbolisofrather
emer- a symb
again
again exhibiting
exhibitingthe
theliberating
liberatingauthentic
authentic
functional
functional
behavior.
behavior. gence;
gence; fromfrom
out of the
outenshrouded
of the interior
enshrouded
dawns a previ-
interior daw
We
We find
findhere
herenono
clearer
clearerillustration
illustration
of the
of paradoxical
the paradoxical
role ofrole of ously
ously repressed
repressed
voice-perhaps
voice-perhaps
the very "seligster
theErguss"
very of "seligster
the
the augmented
augmentedsixth
sixthin in
thisthis
piece;
piece;
symbolizing
symbolizing
the brooding
the brooding which
which the the
poet speaks.
poet speaks.
repression
repressionofofthe
the
first
first
twotwo
verses
verses
when
when
behaving
behaving
pre- pre-
dominantly,
dominantly,ititis is
in in
thethe
third
third
verse
verse
an effective
an effective
therapeutic
therapeutic
agent
agent thanks
thankstoto
changes
changes in mode,
in mode,
pitch
pitch
location,
location,
and func-
and func- CONCLUSION
tional type.
The thesis of this article, that we ought to atten
to the augmented-sixth interval and its function
43It is appropriate to note here the enharmonic equivalence of the chord
and to regard its harmonization as an epiphen
in Example 19 with that shown in Example 8c-that rara avis found so fleet-
ingly in the excerpt from Verdi's Requiem in Example 9. What is more, the ceives eloquent support from Brahms's "Im H
enharmonic equivalence here is between two types of augmented-sixth though standard-issue pre-dominant Germ n-six
chords. The differences in spelling between the two indicate differences in there are more than enough nonstandard treatm
how their respective augmented sixths resolve. That in Example 8c resolves into question the theoretical-and pedagogical
to E. Respelling the chord along the lines of the present case-in other words,
of focusing so intently upon the three ethnic-si
making the D# an El -then places the augmented-sixth interval between C#
and El, meaning a resolution to D. Despite both being augmented-sixth True, they may be statistically preponderant
chords and despite their enharmonic equivalence, these two chords are practice music and therefore deserve their special
functionally quite distinct. when we elevate them to such an extent that
Example 19. The authentic augmented-sixth chord with

with others
others that
that desire
desireflexibility
flexibilityand
andplay,
play,which
which allow
allowthe-
the
orizing
orizing about
about tonal
tonal music
musictotobe
beananartistically
artisticallycreative
creativeact,
act,
as
Schenker
Schenker and
and others
others have
havedemonstrated.
demonstrated.This Thissupplement
supplement tot
the theory
theory ofof augmented-sixth
augmented-sixthchordschordsisisintended
intended toto
restore
restor
more
more play
play into
into aa small
smallcomponent
componentof oftonal
tonaltheory
theory without,
without
it is hoped,
hoped, sacrificing
sacrificingitsitsintegrity.
integrity.This
Thisgoal
goalperhaps
perhaps still
still
involves
involves circling
circling thethe wagons;
wagons;butbutififthe
thearea
areaencompassed
encompassed beb
Aug. 6th (dominant) Tonic large
large enough,
enough, there
there will
willstill
stillbe
beenough
enoughroomroomfor forboth
bothstan-
stan
dard and
and nonstandard
nonstandardaugmented-sixth
augmented-sixthchordschordstotorun runhappy
happ
and free.
other
other treatments,
treatments,wewe
lose
lose
theoretically
theoretically
and and
analytically-
analytically- ABSTRACT
theoretically,
theoretically,because
becausewewe
succumb
succumb
to the
to the
temptation
temptation
to circle
to Traditional
circle tonal theory, in its emphasis on the three ethni
the
the wagons
wagonsof oftonal
tonal
theory
theory
in the
in the
hopes
hopes
of closing
of closing
the system of augmented-sixth chord, proves inefficient in handling o
the system
and,
and, as
asaaresult,
result,leave
leave
non-privileged
non-privileged
structures
structures
and proce-
and proce-of augmented-sixth chords frequently found in late nin
dures
dures exposed
exposedand andunprotected;
unprotected; andand
analytically,
analytically,
because century music. The paper reconstructs the theory su
because
we
we are
are unable
unabletoto
fashion
fashion
tools
tools
andand
instruments
instruments
for dealing augmented-sixth chords along more general lines so tha
for dealing
treatments can be more adequately explained and analyz
adequately
adequatelywith
withcompositions
compositions
whose
whose
contents
contents
leaveleave
them them
outside the circle.
support in this reconstruction is given by nineteenth-cent
rists such as Gottfried Weber and Rudolf Louis and Ludwig
It is a truism that tonal theory lacks the rigor and well-
Excerpts from the works of Liszt, Wagner, Richard Straus
defined structure of, say, pitch-class set theory. Certainly, Schoenberg, and Verdi illustrate some of these unusual tr
instincts towards making tonal theory more consistent and The paper also analyzes Brahms's part song "Im Herbst
rational ought to be honored, if for no other reason than no. 5, in which unusual treatments of augmented-six
successful pedagogy requires it. But these instincts conflict abound.

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Society for Music Theory

Supplement to the Theory of Augmented-Sixth Chords

at present. The second is more direct and subtle entry into 9 o ,.

nations. This benefit is showcased in an analysis of a Brahms

THE AUGMENTED SIXTH AND ITS POSSIBLE DIATONIC CONTEXTS

resolution-the perfect fifth between 1 and S-is between the

"I am thinking here particularly of cases such as VII07 of V7, resolution

Example 3. Augmented-sixth chord harmonizing 2-5 in minor sider

TONAL FUNCTION OF AUGMENTED SIXTHS

140ne can try to repudiate these tendencies with compositional rhetoric-

Figure 3. Key system "stretched" in both directions; after Cyrill of

Example 5. Liszt, "Sonetto 123 del Petrarca," mm. 82-84

t^. -.I"Aug. 6th" --

treatments such as thatmented

22For examples of how and

Example 6. Liszt, Orpheus, mm. 194-206

r - I - o!oi decresc.e rit.

franchise dominant-functioned augmented-sixth

named by their figured-bass signature), other (might we say

Example 9. Verdi, Requiem; Kyrie, mm. 77-81

Example 10. Definition of the "dual" German augmented-sixth augmented-sixth

^t^ FT:" X '^E^ L^O "_ =L

b.:ft( W b^^ | ti}^ i (ii)t

of resolution. If the latter, then the augmented-sixth

36Also of note here is the traditionally close association of augmented-sixth

Example 15. Liszt, Weinen, Klagen, Sorgen, Zagen, mm. 179-83

,^:^b C'' 1: - #'>1 > Vte #+t"8Esim.

Xb bbbb t i/i- 1b1 i1 1B ? l

to a composition where the augmented sixth is a conspicuous sense

J|ib' r' 'r'r I Jb r _

b-- Ifr r r - I- "- - r f r r- - r

1'r tIr ': I .i

siII - n - r 1J r aI, 1 iw- 1 J S

:i r r r r'If I~- ' f f'

explains the attention

Figure 5. Karl Groth, "Im Herbst." Translation by the author

depressing turn, forcing the soprano to plod downwards yet

Example 17. Plagal augmented-sixth chord and

Example 18. "Im Herbst," soprano line, mm. 14-17

Example 19. The authentic augmented-sixth chord with

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