{"id":2565,"date":"2023-10-06T16:33:52","date_gmt":"2023-10-06T16:33:52","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/augmented-sixth-chords\/"},"modified":"2025-08-19T23:15:43","modified_gmt":"2025-08-19T23:15:43","slug":"augmented-sixth-chords","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/augmented-sixth-chords\/","title":{"raw":"Augmented sixth chords","rendered":"Augmented sixth chords"},"content":{"raw":"<div class=\"augmented-sixth-chords\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 42<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>The properties of [pb_glossary id=\"4490\"]augmented sixth chords[\/pb_glossary]<\/li>\r\n \t<li>How to spell augmented sixth chords<\/li>\r\n \t<li>Best practices for voice leading augmented sixth chords<\/li>\r\n \t<li>How augmented sixth chords function in musical contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Augmented sixth chords\"><\/a>Augmented sixth chords<\/h1>\r\nLike the [pb_glossary id=\"4391\"]Neapolitan sixth[\/pb_glossary] chord, [pb_glossary id=\"4490\"]augmented sixth chords[\/pb_glossary] (+6 chords) are striking predominant chords. Augmented sixth chords result from chromatic voice leading and intensify the approach to the dominant by using linear half-step motion. Because of their linear nature, augmented sixth chords have no root or true inversional properties, in contrast to other chords we have studied. In this chapter, we will approach their function and labeling from a linear perspective.\r\n\r\nThere are three varieties of augmented sixth chords: the Italian, the German, and the French. All three feature scale degrees [latex]\\flat\\hat{6}[\/latex] (\"le\"), [latex]\\hat{1}[\/latex] (\"do\"), and [latex]\\sharp\\hat{4}[\/latex] (\"fi\"). The interval of an augmented sixth is formed between [latex]\\flat\\hat{6}[\/latex] (\"le\") and [latex]\\sharp\\hat{4}[\/latex] (\"fi\"), hence the name of the chord. In minor keys, [latex]\\flat\\hat{6}[\/latex] (\"le\") is already lowered, but in major keys the submediant needs to be lowered by one half step.\r\n\r\nThe [pb_glossary id=\"4493\"]Italian +6 (It.+6)[\/pb_glossary] is the simplest of the three types, containing only the three scale degrees described above\u2014[latex]\\flat\\hat{6}[\/latex] (\"le\"), [latex]\\hat{1}[\/latex] (\"do\"), and [latex]\\sharp\\hat{4}[\/latex] (\"fi\")\u2014and it sounds like an incomplete major-minor seventh chord. Example 42-1 summarizes the properties, function, and voice leading of the Italian +6.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 42\u20111. The Italian +6 (It.+6)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-1024x362.png\" alt=\"Grand staff, 4\/4. First chord as whole notes: A-flat 2, C4, C4, F-sharp. Annotation reads &quot;tonic is doubled in the Italian augmented sixth.&quot; Beneath staff, chord is labeled C major: It.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, Italian augmented sixth, one-six-four, five-seven, one. Annotation above the augmented sixth chord reads &quot;notice half-step motion outward to the dominant&quot;\" width=\"1024\" height=\"362\" class=\"alignnone wp-image-3890 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T77 +6 video 1: The basics<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/4-IKIauLH0c?si=UshmD78yCP0xqwFu\r\n\r\nThis video introduces the idea of the [pb_glossary id=\"4493\"]Italian +6[\/pb_glossary] chord in relation to its enharmonic equivalent, the incomplete V7.\r\n\r\n<\/div>\r\n<\/div>\r\nThe [pb_glossary id=\"4494\"]German +6 (Ger.+6)[\/pb_glossary] contains four scale degrees\u2014[latex]\\flat\\hat{6}[\/latex] (\"le\"), [latex]\\hat{1}[\/latex] (\"do\"), [latex]\\flat\\hat{3}[\/latex] (\"me\") and [latex]\\sharp\\hat{4}[\/latex] (\"fi\")\u2014and sounds similar to a complete major-minor seventh chord. When spelling the Ger.+6 in minor keys, [latex]\\flat\\hat{6}[\/latex] (\"le\") and [latex]\\flat\\hat{3}[\/latex] (\"me\") are already in their lowered forms. In major keys, you must lower scale degrees [latex]\\hat{6}[\/latex] (\"la\" becomes \"le\") and [latex]\\hat{3}[\/latex] (\"mi\" becomes \"me\") by a chromatic half step in order to spell the lowered versions of these scale degrees correctly. Example 42-2 summarizes the properties, function, and voice leading of the German +6.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 42\u20112. The German +6 (Ger.+6)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-1024x327.png\" alt=\"Grand staff. First chord as whole notes: A-flat 2, C4, E-flat 4, F-sharp 4. Beneath staff, chord is labeled Ger.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, German augmented sixth, one-six-four, five-seven, one.\" width=\"1024\" height=\"327\" class=\"alignnone wp-image-5062 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nSometimes the Ger.+6 is spelled with [latex]\\sharp\\hat{2}[\/latex] (\"ri\") instead of [latex]\\flat\\hat{3}[\/latex] (\"me\") when it precedes a [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] chord. This is because [latex]\\sharp\\hat{2}[\/latex] (\"ri\") acts like a chromatic tendency tone to [latex]\\hat{3}[\/latex] (\"mi\"), as [latex]\\sharp\\hat{4}[\/latex] (\"fi\") is a secondary leading tone to [latex]\\hat{5}[\/latex] (\"sol\").\r\n\r\nGerman augmented sixth chords and complete major-minor seventh chords are like homophones in English\u2014they sound the same, but are spelled differently (just like \"sail\" and \"sale,\" for example).\u00a0 In music, this phenomenon is called [pb_glossary id=\"249\"]enharmonic equivalence[\/pb_glossary]. Augmented sixth chords and major-minor seventh chords also have different functions in musical phrases: the former are predominant chords, whereas the latter function dominantly.\r\n\r\nThe [pb_glossary id=\"4500\"]French +6 (Fr.+6)[\/pb_glossary] uses [latex]\\flat\\hat{6}[\/latex] (\"le\"), [latex]\\hat{1}[\/latex] (\"do\"), [latex]\\hat{2}[\/latex] (\"re\"), and [latex]\\sharp\\hat{4}[\/latex] (\"fi\"), a subset of the [pb_glossary id=\"1365\"]whole tone scale[\/pb_glossary]. Unlike the It.+6 and Ger.+6, the French +6 is not enharmonically equivalent to a major-minor seventh chord. Like with both the It.+6 and Ger.+6, in minor keys, [latex]\\flat\\hat{6}[\/latex] (\"le\") is already in its lowered form, and in major keys, you must lower it by a chromatic half step in order to spell [latex]\\flat\\hat{6}[\/latex] (\"le\"). Example 42-3 summarizes the properties, function, and voice leading of the French +6.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 42\u20113. The French +6 (Fr.+6)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-1024x327.png\" alt=\"Grand staff. First chord as whole notes: A-flat 2, C4, D4, F-sharp 4. Beneath staff, chord is labeled Fr.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, French augmented sixth, one-six-four, five-seven, one.\" width=\"1024\" height=\"327\" class=\"alignnone size-large wp-image-5067\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T78 +6 video 2: The three types<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/W2TWT_DqP7M?si=uOwqDrQqN2RUzINX\r\n\r\nThis video demonstrates how to spell each of the three types of [pb_glossary id=\"4490\"]augmented sixth chords[\/pb_glossary] and shows a brief progression of their use in C major.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 42-1 Spelling +6 chords\"><\/a>EXERCISE 42-1 Spelling +6 chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-1 Spelling +6 chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nOn a separate sheet of staff paper, provide key signatures for each problem and spell the augmented sixth chord. Remember that in minor keys, the only chromatic note is scale degree [latex]\\sharp\\hat{4}[\/latex] (\"fi\"). In major keys, scale degrees [latex]\\hat{6}[\/latex] and [latex]\\hat{3}[\/latex] must be lowered by a half step, in addition to raising scale degree [latex]\\hat{4}[\/latex].\r\n\r\n<span>[h5p id=\"83\"]<\/span>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.1-Spelling-6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.1 Spelling +6 chords<\/a><\/div>\r\n<div class=\"textbox shaded\">Want more practice spelling augmented sixth chords? Try this drill: <a href=\"https:\/\/www.teoria.com\/en\/exercises\/a6c.php\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords construction<\/a> (teoria)<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Augmented sixth chords in context\"><\/a>Augmented sixth chords in context<\/h1>\r\nThe first movement of Beethoven's famous Fifth Symphony features an exciting appearance by the Italian augmented sixth. Study and listen to Example 42-4, which presents an excerpt from the beginning of the movement. The Italian augmented sixth chord occurs in the second system, preceding the dominant in the key of C minor.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 42\u20114. Ludwig van Beethoven, Symphony no. 5, mvt. 1, mm. 1\u201321<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-1024x949.png\" alt=\"image of score\" width=\"1024\" height=\"949\" class=\"alignnone wp-image-3893 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-1024x843.png\" alt=\"image of score with annotations\" width=\"1024\" height=\"843\" class=\"alignnone wp-image-4509 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.4-beethoven-symphony-5-mm1-to-21.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Vienna Philharmonic Orchestra conducted by Wilhelm Furtw\u00e4ngler, on <a href=\"https:\/\/open.spotify.com\/track\/06Bo7NtQMmC1HyzxTdMUgz?si=08ff726ee2a74347\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a slideshow with the content from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords slides<\/a><\/div>\r\n<h1><a id=\"EXERCISE 42-2 Analysis with augmented sixth chords\"><\/a>EXERCISE 42-2 Analysis with augmented sixth chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-2 Analysis with augmented sixth chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nAfter studying the score and listening to Worksheet example 42\u20111, complete the tasks and answer the questions below. <span>If you\u2019re stuck, the video following the exercise may help you get started.<\/span>\r\n<ol>\r\n \t<li>Identify the overall key.<\/li>\r\n \t<li>The augmented sixth appears twice. In which measures does it appear?<\/li>\r\n \t<li>Which kind of augmented sixth is used? Select one:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It.+6\u00a0\u00a0\u00a0\u00a0 Ger.+6\u00a0\u00a0\u00a0 Fr.+6<\/li>\r\n \t<li>Provide the most logical Roman numeral labels for the following measures:\r\nm. 11 _____\r\nm. 12 _____\r\nm. 13 _____\r\nm. 14 _____\r\nm. 37 _____\r\nm. 38 _____<\/li>\r\n \t<li>A [pb_glossary id=\"2148\"]harmonic sequence[\/pb_glossary] unfolds in mm. 11\u201314. What is the root motion pattern involved in this sequence?<\/li>\r\n \t<li>Provide a lead-sheet (chord) symbol for the chord in m. 10.<\/li>\r\n \t<li>Provide a lead-sheet (chord) symbol for the chord in m. 11.<\/li>\r\n \t<li>What term (two words) best describes the relationship between the chords in m. 10 and m. 11?<\/li>\r\n \t<li>What key area is implied in mm. 1\u201310?<\/li>\r\n \t<li>What [pb_glossary id=\"4711\"]tonal cell[\/pb_glossary] (temporary key area) is implied in mm. 19\u201322?<\/li>\r\n \t<li>What term (two words) best describes the relationship between the key areas in mm. 1\u201310 and mm. 19\u201322?<\/li>\r\n \t<li>In several sentences, describe two uses of [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] in this song.<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 42\u20111. Ludwig van Beethoven, op. 48, no. 4, \u201cDie Ehre Gottes aus der Natur\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-678x1024.png\" alt=\"image of score\" width=\"678\" height=\"1024\" class=\"alignnone wp-image-3895 size-large\" \/><\/a>\r\n\r\nListen to a recording of the song, performed by Matthias Goerne, on <a href=\"https:\/\/open.spotify.com\/track\/6HU0ztH1RUNoqn4BnnbcxA?si=ef59540122d34adb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=18174\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text, by Emily Ezust, on lieder.net.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.2-Analysis-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.2 Analysis with augmented sixth chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T79 +6 video 3: analysis (3:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/pdVFqqF5Zvo?si=pFUWLIKInHZnst--\r\n\r\nThis video illustrates Beethoven's use of the It. +6 in op. 48, no. 4, \"Die Ehre Gottes aus der Natur\u201d (Worksheet example 42-1). If you are stuck with Exercise 42-2, this video may help you get started.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Aural identification of augmented sixth chords\"><\/a>Aural identification of augmented sixth chords<\/h1>\r\n<span>Now that we have learned many different types of chromatic predominantly functioning chords, developing the ability to discern these by ear will help us further solidify our understanding of each and enhance our musicianship skills.<\/span> The exercises that follow will help you develop skills to identify augmented sixth chords and other predominant chords we've studied.\r\n<h1><a id=\"EXERCISE 42-3 Contextual listening with augmented sixth chords\"><\/a>EXERCISE 42-3 Contextual listening with augmented sixth chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-3 Contextual listening with augmented sixth chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFirst, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/08ROEnIO2zx5HXnOth5fRn?si=4d5257b6f60842ba\" target=\"_blank\" rel=\"noopener\">Spotify playlist for augmented sixth chords<\/a>\r\n\r\nChoose a track, and play a portion of it. Pause the recording or sing over it, and find tonic (\u201cdo\u201d) with your voice or an instrument. Sing scalar patterns to find \u201cfi\u201d (a tritone away from \u201cdo\u201d) and \u201cle\u201d ([latex]\\flat\\hat{6}[\/latex]). Continue listening to see if you can identify where the augmented sixth chord takes place, as it will feature these prominent scale degrees. If you get stuck, look up the track timing on the answer key and listen again to the excerpt, cued up to the appropriate spot. The playlist also contains some of the pieces we have already studied in this chapter. It may be helpful to review those first before trying new examples.\r\n\r\nOnce you have found the augmented sixth chord, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Answers-to-EXERCISE-42.3-Contextual-listening-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 42.3 Contextual listening with augmented sixth chords<\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.3-Contextual-listening-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.3 Contextual listening with augmented sixth chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 42-4 Aural ID of predominant chords\"><\/a>EXERCISE 42-4 Aural ID of predominant chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-4 Aural ID of predominant chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIn this exercise, you will hear a set of progressions, each containing five chords. Each progression features tonic, predominant, cadential six-four, five, tonic in succession. Your task is to identify the mode of each example (major or minor) and the best label for the second chord, which will be one of the predominant functioning chords we have studied. In major keys, the choices will include IV, ii[latex]{}^6_5[\/latex], V[latex]{}^6_5[\/latex]\/V, N6, Ger.+6, and Fr.+6. In minor keys, the choices will include iv, ii\u00f8[latex]{}^6_5[\/latex], V[latex]{}^6_5[\/latex]\/V, N6, Ger.+6, and Fr.+6. Each progression will be played twice.\r\n\r\nAfter you've completed a set, you can check your answers here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Answers-to-EXERCISE-42.4-Aural-ID-of-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 42.4 Aural ID of predominant chords<\/a>.\r\n\r\nSet 1\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.mp3\"][\/audio]\r\n\r\nSet 2\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.mp3\"][\/audio]\r\n\r\nSet 3\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.mp3\"][\/audio]\r\n\r\nSet 4\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.mp3\"][\/audio]\r\n\r\nSet 5\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-05.mp3\"][\/audio]\r\n\r\nSet 6\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-06.mp3\"][\/audio]\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.4-Aural-ID-of-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.4 Aural ID of predominant chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 42-5 Harmonic dictation with chromatic predominant chords\"><\/a>EXERCISE 42-5 Harmonic dictation with chromatic predominant chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-5 Harmonic dictation with chromatic predominant chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFor this exercise, play the recording of each dictation up to four times. Your tasks are to notate the bass and soprano voices on staff paper, provide Roman numeral labels beneath the staff, and identify the cadence type at the end of the progression. Each progression will feature at least one chromatic chord we have studied.\r\n\r\nProgression 1\r\n\r\n<span>[h5p id=\"84\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nProgression 2\r\n\r\n<span>[h5p id=\"85\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nProgression 3\r\n\r\n<span>[h5p id=\"86\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nProgression 4\r\n\r\n<span>[h5p id=\"89\"]<\/span>\r\n\r\n[audio m4a=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-D-minor.m4a\"][\/audio]\r\n\r\n&nbsp;\r\n\r\nProgression 5\r\n\r\n<span>[h5p id=\"88\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-in-C-minor.mp3\"][\/audio]\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.5-Harmonic-dictation-with-chromatic-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.5 Harmonic dictation with chromatic predominant chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 42-6 Contextual listening and transcription with +6\"><\/a>EXERCISE 42-6 Contextual listening and transcription with +6<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-6 Contextual listening and transcription with +6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the excerpt. On a separate sheet of staff paper using the format below, notate the outer voices you hear, provide a Roman numeral analysis, label the cadence, and answer the questions that follow.\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Exercise-42.mp3\"][\/audio]\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-1024x252.png\" alt=\"image of Grand staff, no key signature, 3\/4. Quarter note pickup in inner voice as G3. Eight bars, with ending repeat sign. First complete measure has C4 in treble clef, G3 in smaller typeface, and in bass clef C3. Beneath staff C major, with eight blanks for Roman numerals. In upper right, blank for cadence label.\" width=\"1024\" height=\"252\" class=\"alignnone wp-image-4590 size-large\" \/><\/a>\r\n<ol>\r\n \t<li>In a sentence or two, describe the voice leading in this example.<\/li>\r\n \t<li>Who is a likely composer of this piece?<\/li>\r\n \t<li>When was this piece written, most likely?<\/li>\r\n<\/ol>\r\nWant more of a challenge? Notate all four parts on the staves below. Add dynamics and bowing articulations as well.\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-1024x447.png\" alt=\"Set of four staves, eight full bars with quarter note pickup and ending repeat sign. First staff labeled Violin 1. Treble clef, 3\/4. Quarter note pickup G3, bar line, C4 as dotted quarter note. Remaining seven measures are blank. Second staff labeled Violin 2. Treble clef, 3\/4. Quarter rest, bar line, G3 as dotted quarter note. Remaining seven measures are blank. Third staff labeled Viola. Alto clef, 3\/4. Quarter rest, bar line, E3 as dotted quarter note. Remaining seven measures are blank. Fourth staff labeled Cello. Bass clef, 3\/4. Quarter rest, bar line, C3 as dotted quarter note. Remaining seven measures are blank. \" width=\"1024\" height=\"447\" class=\"alignnone wp-image-4591 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.6-Contextual-listening-and-transcription-with-6.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.6 Contextual listening and transcription with +6<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Voice leading with augmented sixth chords\"><\/a>Voice leading with augmented sixth chords<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T80 +6 video 4: Voice leading (4:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/1RWQZAi1cVY?si=3Rt5DjaMFd5ulyF1\r\n\r\nThis video demonstrates the basic voice leading connections between each augmented sixth chord and V. Spoiler alert: The [pb_glossary id=\"4494\"]Ger.+6[\/pb_glossary] doesn't go immediately to V, but instead goes to the [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] first. Watch the video or continue reading to find out why.\r\n\r\n<\/div>\r\n<\/div>\r\nThe principles of resolving augmented sixth chords are fairly straightforward. First, resolve the interval of the augmented sixth outward to an octave. To do this:\r\n<ul>\r\n \t<li>The bass ([latex]\\flat\\hat{6}[\/latex] or \u201cle\u201d) resolves down by step to scale degree [latex]\\hat{5}[\/latex] (\u201csol\u201d)<\/li>\r\n \t<li>The voice containing [latex]\\sharp\\hat{4}[\/latex] (\u201cfi\u201d) resolves up by step to scale degree [latex]\\hat{5}[\/latex] (\u201csol\u201d)<\/li>\r\n<\/ul>\r\nThe voice that contains tonic (\u201cdo\u201d) should move by step to the leading tone (\u201cti\u201d). If the augmented sixth chord moves to a [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] prior to resolving to the dominant chord, this voice will stay on tonic until it moves to the dominant chord. If there is more than one voice on scale degree [latex]\\hat{1}[\/latex] (\u201cdo\u201d), as in the [pb_glossary id=\"4493\"]Italian augmented sixth[\/pb_glossary] chord in a four-voice texture, move one voice from scale degree [latex]\\hat{1}[\/latex] (\u201cdo\u201d) by step to [latex]\\hat{7}[\/latex] (\u201cti\u201d) and the other from scale degree [latex]\\hat{1}[\/latex] (\u201cdo\u201d) to [latex]\\hat{2}[\/latex] (\u201cre\u201d).\r\n\r\nThe voice containing scale degree [latex]\\hat{2}[\/latex] (\u201cre\u201d) in a [pb_glossary id=\"4500\"]French augmented sixth[\/pb_glossary] chord will stay on scale degree [latex]\\hat{2}[\/latex] when connecting to the dominant chord.\r\n\r\nIn general, [pb_glossary id=\"4494\"]German augmented sixth[\/pb_glossary] chords will pass through a cadential six-four before moving to the dominant in order to avoid pesky parallel fifths. In minor keys, this means that the voice containing scale degree [latex]\\hat{3}[\/latex] (\u201cme\u201d) will stay on [latex]\\hat{3}[\/latex] (\u201cme\u201d) before resolving down to scale degree [latex]\\hat{2}[\/latex] (\u201cre\u201d). In major keys, we sometimes see an enharmonic spelling of the German augmented sixth chord, using [latex]\\sharp\\hat{2}[\/latex] (\u201cri\u201d) instead of [latex]\\flat\\hat{3}[\/latex] (\u201cme\u201d). Regardless of the spelling, this voice will move to scale degree [latex]\\hat{3}[\/latex] (\u201cmi\u201d) for the cadential six-four before moving down by step to scale degree [latex]\\hat{2}[\/latex] (\u201cre\u201d) as the fifth of the dominant chord.\r\n<div class=\"textbox shaded\">Access a slideshow with the content from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords slides<\/a><\/div>\r\n\r\n<h1><a id=\"EXERCISE 42-7 Voice leading with +6 chords\"><\/a>EXERCISE 42-7 Voice leading with +6 chords<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-7 Voice leading with +6 chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nGiven the Roman numerals, complete each passage for four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) following the guidelines for part writing we have studied.\r\n\r\n(1)\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-1024x372.png\" alt=\"Grand staff, one sharp, 4\/4. First chord G2, B3, G4, D5. Beneath staff in G major: one, Italian augmented sixth, five, one.\" width=\"1024\" height=\"372\" class=\"alignnone wp-image-3896 size-large\" \/><\/a>\r\n\r\n(2)\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-1024x329.png\" alt=\"Grand staff, two sharps, 3\/2. First chord B2, B3, F-sharp 4, D5. Beneath staff in B minor: one, French augmented sixth, five, one.\" width=\"1024\" height=\"329\" class=\"alignnone wp-image-3897 size-large\" \/><\/a>\r\n\r\n(3)\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-1024x312.png\" alt=\"Grand staff, one flat, 4\/2. First chord D3, A3, D4, F4. Beneath staff in D minor: one, German augmented sixth, cadential six-four, five, one.\" width=\"1024\" height=\"312\" class=\"alignnone wp-image-3898 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.7-Voice-leading-with-6.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.7 Voice leading with +6<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 42-8 Analysis with N6 and +6 chords\"><\/a>EXERCISE 42-8 Analysis with N6 and +6 chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 42-8 Analysis with N6 and +6 chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nPART 1. Study and listen to the following excerpt, and complete a Roman numeral analysis on the blanks beneath the staff. Circle all non-chord tones that appear in the melody. Be on the lookout for all of our favorite chromatic friends\u2014secondary dominants, borrowed chords, Neapolitan sixths, and augmented sixth chords. Then answer the questions below.\r\n<ol>\r\n \t<li>What do the four chords in mm. 44\u201345 all have in common?<\/li>\r\n \t<li>Describe how Schubert uses [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] in this example.<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 42\u20112. Franz Schubert, Impromptu in G-flat major, op. 90, no. 3, mm. 43\u201352<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-797x1024.png\" alt=\"image of score with blanks beneath staff for Roman numerals in E-flat minor\" width=\"797\" height=\"1024\" class=\"alignnone wp-image-3900 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/1vBpbeyQhk0JPVaKieVl6d?si=76c82be56bb44415\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\nPART 2. Study and listen to the following excerpt from the same piece, and complete a Roman numeral analysis on the blanks beneath the staff. Circle all non-chord tones that appear in the melody. Then answer the questions below.\r\n<ol>\r\n \t<li>Describe how Schubert uses [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] in this example.<\/li>\r\n \t<li>Consider the voice leading of the second chord in m. 76. Does this chord resolve in the way you expect it to? If so, what aspects of the voice leading conform to your expectations? If not, why not?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 42\u20113. Franz Schubert, Impromptu in G-flat major, op. 90, no. 3, mm. 74\u201378<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-1024x776.png\" alt=\"image of score with blanks beneath staff for Roman numerals in G-flat major\" width=\"1024\" height=\"776\" class=\"alignnone wp-image-3901 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/1vBpbeyQhk0JPVaKieVl6d?si=76c82be56bb44415\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.8-Analysis-with-N6-and-6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.8 Analysis with N6 and +6 chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div id=\"sdfootnote1sym\">\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 42<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/youtu.be\/NiPU_suLjJw?si=mrWSljmqbl0F_XAb\" target=\"_blank\" rel=\"noopener\">Primer video on augmented sixth chords<\/a>\u00a0(Dry Erased Theory)\r\n\r\n<a href=\"https:\/\/www.youtube.com\/watch?v=wLkLwok1wHY\" target=\"_blank\" rel=\"noopener\">Dr. Kati Meyer\u2019s video with musical examples and practice problems<\/a>\r\n\r\n<a href=\"https:\/\/www.youtube.com\/watch?v=wn1yNVd6un8\" target=\"_blank\" rel=\"noopener\">Detailed video on augmented sixth chords<\/a>\u00a0(Dr. C's Music Theory Land)\r\n\r\n<a href=\"https:\/\/www.youtube.com\/watch?v=nyTofH5rk78\" target=\"_blank\" rel=\"noopener\">\"International Chords Song\" by David Newman<\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"augmented-sixth-chords\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 42<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>The properties of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4490\">augmented sixth chords<\/a><\/li>\n<li>How to spell augmented sixth chords<\/li>\n<li>Best practices for voice leading augmented sixth chords<\/li>\n<li>How augmented sixth chords function in musical contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Augmented sixth chords<\/h1>\n<p>Like the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4391\">Neapolitan sixth<\/a> chord, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4490\">augmented sixth chords<\/a> (+6 chords) are striking predominant chords. Augmented sixth chords result from chromatic voice leading and intensify the approach to the dominant by using linear half-step motion. Because of their linear nature, augmented sixth chords have no root or true inversional properties, in contrast to other chords we have studied. In this chapter, we will approach their function and labeling from a linear perspective.<\/p>\n<p>There are three varieties of augmented sixth chords: the Italian, the German, and the French. All three feature scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (&#8220;do&#8221;), and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;). The interval of an augmented sixth is formed between <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;) and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;), hence the name of the chord. In minor keys, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;) is already lowered, but in major keys the submediant needs to be lowered by one half step.<\/p>\n<p>The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4493\">Italian +6 (It.+6)<\/a> is the simplest of the three types, containing only the three scale degrees described above\u2014<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (&#8220;do&#8221;), and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;)\u2014and it sounds like an incomplete major-minor seventh chord. Example 42-1 summarizes the properties, function, and voice leading of the Italian +6.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 42\u20111. The Italian +6 (It.+6)<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-1024x362.png\" alt=\"Grand staff, 4\/4. First chord as whole notes: A-flat 2, C4, C4, F-sharp. Annotation reads &quot;tonic is doubled in the Italian augmented sixth.&quot; Beneath staff, chord is labeled C major: It.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, Italian augmented sixth, one-six-four, five-seven, one. Annotation above the augmented sixth chord reads &quot;notice half-step motion outward to the dominant&quot;\" width=\"1024\" height=\"362\" class=\"alignnone wp-image-3890 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-1024x362.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-300x106.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-768x272.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-1536x544.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-65x23.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-225x80.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1-350x124.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.png 1557w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-2565-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T77 +6 video 1: The basics<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T77 Malawey&#39;s +6 video 1: THE BASICS\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/4-IKIauLH0c?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video introduces the idea of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4493\">Italian +6<\/a> chord in relation to its enharmonic equivalent, the incomplete V7.<\/p>\n<\/div>\n<\/div>\n<p>The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4494\">German +6 (Ger.+6)<\/a> contains four scale degrees\u2014<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (&#8220;do&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-57a1e8cb7e5ecf037c0ca8184ac9c0b3_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;me&#8221;) and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;)\u2014and sounds similar to a complete major-minor seventh chord. When spelling the Ger.+6 in minor keys, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;) and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-57a1e8cb7e5ecf037c0ca8184ac9c0b3_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;me&#8221;) are already in their lowered forms. In major keys, you must lower scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (&#8220;la&#8221; becomes &#8220;le&#8221;) and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (&#8220;mi&#8221; becomes &#8220;me&#8221;) by a chromatic half step in order to spell the lowered versions of these scale degrees correctly. Example 42-2 summarizes the properties, function, and voice leading of the German +6.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 42\u20112. The German +6 (Ger.+6)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-1024x327.png\" alt=\"Grand staff. First chord as whole notes: A-flat 2, C4, E-flat 4, F-sharp 4. Beneath staff, chord is labeled Ger.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, German augmented sixth, one-six-four, five-seven, one.\" width=\"1024\" height=\"327\" class=\"alignnone wp-image-5062 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-1024x327.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-300x96.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-768x245.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-1536x491.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-225x72.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2-350x112.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.2.png 1546w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Sometimes the Ger.+6 is spelled with <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-4e8fdd97eb25607f162f6f421bb578cc_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"15\" style=\"vertical-align: -4px;\" \/> (&#8220;ri&#8221;) instead of <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-57a1e8cb7e5ecf037c0ca8184ac9c0b3_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;me&#8221;) when it precedes a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_3007\">cadential six-four<\/a> chord. This is because <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-4e8fdd97eb25607f162f6f421bb578cc_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"15\" style=\"vertical-align: -4px;\" \/> (&#8220;ri&#8221;) acts like a chromatic tendency tone to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (&#8220;mi&#8221;), as <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;) is a secondary leading tone to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (&#8220;sol&#8221;).<\/p>\n<p>German augmented sixth chords and complete major-minor seventh chords are like homophones in English\u2014they sound the same, but are spelled differently (just like &#8220;sail&#8221; and &#8220;sale,&#8221; for example).\u00a0 In music, this phenomenon is called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_249\">enharmonic equivalence<\/a>. Augmented sixth chords and major-minor seventh chords also have different functions in musical phrases: the former are predominant chords, whereas the latter function dominantly.<\/p>\n<p>The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4500\">French +6 (Fr.+6)<\/a> uses <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (&#8220;do&#8221;), <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (&#8220;re&#8221;), and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;), a subset of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_1365\">whole tone scale<\/a>. Unlike the It.+6 and Ger.+6, the French +6 is not enharmonically equivalent to a major-minor seventh chord. Like with both the It.+6 and Ger.+6, in minor keys, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;) is already in its lowered form, and in major keys, you must lower it by a chromatic half step in order to spell <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (&#8220;le&#8221;). Example 42-3 summarizes the properties, function, and voice leading of the French +6.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 42\u20113. The French +6 (Fr.+6)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-1024x327.png\" alt=\"Grand staff. First chord as whole notes: A-flat 2, C4, D4, F-sharp 4. Beneath staff, chord is labeled Fr.+6. Double bar lines. Chord progression in C major with Roman numeral labels: one, five-four-two of four, four-six, French augmented sixth, one-six-four, five-seven, one.\" width=\"1024\" height=\"327\" class=\"alignnone size-large wp-image-5067\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-1024x327.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-300x96.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-768x245.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-1536x490.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-225x72.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3-350x112.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex-42.3.png 1546w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T78 +6 video 2: The three types<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T78 Malawey&#39;s +6 video 2: THE THREE TYPES\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/W2TWT_DqP7M?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video demonstrates how to spell each of the three types of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4490\">augmented sixth chords<\/a> and shows a brief progression of their use in C major.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 42-1 Spelling +6 chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-1 Spelling +6 chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>On a separate sheet of staff paper, provide key signatures for each problem and spell the augmented sixth chord. Remember that in minor keys, the only chromatic note is scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (&#8220;fi&#8221;). In major keys, scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> must be lowered by a half step, in addition to raising scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>.<\/p>\n<p><span><\/p>\n<div id=\"h5p-83\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-83\" class=\"h5p-iframe\" data-content-id=\"83\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 42-1\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.1-Spelling-6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.1 Spelling +6 chords<\/a><\/div>\n<div class=\"textbox shaded\">Want more practice spelling augmented sixth chords? Try this drill: <a href=\"https:\/\/www.teoria.com\/en\/exercises\/a6c.php\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords construction<\/a> (teoria)<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Augmented sixth chords in context<\/h1>\n<p>The first movement of Beethoven&#8217;s famous Fifth Symphony features an exciting appearance by the Italian augmented sixth. Study and listen to Example 42-4, which presents an excerpt from the beginning of the movement. The Italian augmented sixth chord occurs in the second system, preceding the dominant in the key of C minor.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 42\u20114. Ludwig van Beethoven, Symphony no. 5, mvt. 1, mm. 1\u201321<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-1024x949.png\" alt=\"image of score\" width=\"1024\" height=\"949\" class=\"alignnone wp-image-3893 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-1024x949.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-300x278.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-768x712.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-1536x1424.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-2048x1898.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-65x60.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-225x209.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-beethoven-symphony-5-pt1-350x324.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-1024x843.png\" alt=\"image of score with annotations\" width=\"1024\" height=\"843\" class=\"alignnone wp-image-4509 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-1024x843.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-300x247.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-768x632.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-1536x1264.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-65x53.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-225x185.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev-350x288.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/Ex-42.4-beethoven-symphony-5-pt2-rev.png 2004w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.4-beethoven-symphony-5-mm1-to-21.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.4-beethoven-symphony-5-mm1-to-21.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-42.4-beethoven-symphony-5-mm1-to-21.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Vienna Philharmonic Orchestra conducted by Wilhelm Furtw\u00e4ngler, on <a href=\"https:\/\/open.spotify.com\/track\/06Bo7NtQMmC1HyzxTdMUgz?si=08ff726ee2a74347\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a slideshow with the content from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords slides<\/a><\/div>\n<h1><a><\/a>EXERCISE 42-2 Analysis with augmented sixth chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-2 Analysis with augmented sixth chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>After studying the score and listening to Worksheet example 42\u20111, complete the tasks and answer the questions below. <span>If you\u2019re stuck, the video following the exercise may help you get started.<\/span><\/p>\n<ol>\n<li>Identify the overall key.<\/li>\n<li>The augmented sixth appears twice. In which measures does it appear?<\/li>\n<li>Which kind of augmented sixth is used? Select one:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It.+6\u00a0\u00a0\u00a0\u00a0 Ger.+6\u00a0\u00a0\u00a0 Fr.+6<\/li>\n<li>Provide the most logical Roman numeral labels for the following measures:<br \/>\nm. 11 _____<br \/>\nm. 12 _____<br \/>\nm. 13 _____<br \/>\nm. 14 _____<br \/>\nm. 37 _____<br \/>\nm. 38 _____<\/li>\n<li>A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_2148\">harmonic sequence<\/a> unfolds in mm. 11\u201314. What is the root motion pattern involved in this sequence?<\/li>\n<li>Provide a lead-sheet (chord) symbol for the chord in m. 10.<\/li>\n<li>Provide a lead-sheet (chord) symbol for the chord in m. 11.<\/li>\n<li>What term (two words) best describes the relationship between the chords in m. 10 and m. 11?<\/li>\n<li>What key area is implied in mm. 1\u201310?<\/li>\n<li>What <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4711\">tonal cell<\/a> (temporary key area) is implied in mm. 19\u201322?<\/li>\n<li>What term (two words) best describes the relationship between the key areas in mm. 1\u201310 and mm. 19\u201322?<\/li>\n<li>In several sentences, describe two uses of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4287\">mode mixture<\/a> in this song.<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 42\u20111. Ludwig van Beethoven, op. 48, no. 4, \u201cDie Ehre Gottes aus der Natur\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-678x1024.png\" alt=\"image of score\" width=\"678\" height=\"1024\" class=\"alignnone wp-image-3895 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-678x1024.png 678w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-199x300.png 199w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-768x1160.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-1017x1536.png 1017w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-1355x2048.png 1355w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-65x98.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-225x340.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1-350x529.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.1.png 1822w\" sizes=\"auto, (max-width: 678px) 100vw, 678px\" \/><\/a><\/p>\n<p>Listen to a recording of the song, performed by Matthias Goerne, on <a href=\"https:\/\/open.spotify.com\/track\/6HU0ztH1RUNoqn4BnnbcxA?si=ef59540122d34adb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=18174\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text, by Emily Ezust, on lieder.net.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.2-Analysis-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.2 Analysis with augmented sixth chords<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T79 +6 video 3: analysis (3:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T79 Malawey&#39;s +6 video 3: ANALYSIS\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/pdVFqqF5Zvo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video illustrates Beethoven&#8217;s use of the It. +6 in op. 48, no. 4, &#8220;Die Ehre Gottes aus der Natur\u201d (Worksheet example 42-1). If you are stuck with Exercise 42-2, this video may help you get started.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Aural identification of augmented sixth chords<\/h1>\n<p><span>Now that we have learned many different types of chromatic predominantly functioning chords, developing the ability to discern these by ear will help us further solidify our understanding of each and enhance our musicianship skills.<\/span> The exercises that follow will help you develop skills to identify augmented sixth chords and other predominant chords we&#8217;ve studied.<\/p>\n<h1><a><\/a>EXERCISE 42-3 Contextual listening with augmented sixth chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-3 Contextual listening with augmented sixth chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/08ROEnIO2zx5HXnOth5fRn?si=4d5257b6f60842ba\" target=\"_blank\" rel=\"noopener\">Spotify playlist for augmented sixth chords<\/a><\/p>\n<p>Choose a track, and play a portion of it. Pause the recording or sing over it, and find tonic (\u201cdo\u201d) with your voice or an instrument. Sing scalar patterns to find \u201cfi\u201d (a tritone away from \u201cdo\u201d) and \u201cle\u201d (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/>). Continue listening to see if you can identify where the augmented sixth chord takes place, as it will feature these prominent scale degrees. If you get stuck, look up the track timing on the answer key and listen again to the excerpt, cued up to the appropriate spot. The playlist also contains some of the pieces we have already studied in this chapter. It may be helpful to review those first before trying new examples.<\/p>\n<p>Once you have found the augmented sixth chord, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Answers-to-EXERCISE-42.3-Contextual-listening-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 42.3 Contextual listening with augmented sixth chords<\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.3-Contextual-listening-with-augmented-sixth-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.3 Contextual listening with augmented sixth chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 42-4 Aural ID of predominant chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-4 Aural ID of predominant chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>In this exercise, you will hear a set of progressions, each containing five chords. Each progression features tonic, predominant, cadential six-four, five, tonic in succession. Your task is to identify the mode of each example (major or minor) and the best label for the second chord, which will be one of the predominant functioning chords we have studied. In major keys, the choices will include IV, ii<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>, V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>\/V, N6, Ger.+6, and Fr.+6. In minor keys, the choices will include iv, ii\u00f8<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>, V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>\/V, N6, Ger.+6, and Fr.+6. Each progression will be played twice.<\/p>\n<p>After you&#8217;ve completed a set, you can check your answers here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Answers-to-EXERCISE-42.4-Aural-ID-of-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 42.4 Aural ID of predominant chords<\/a>.<\/p>\n<p>Set 1<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01.mp3<\/a><\/audio><\/p>\n<p>Set 2<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02.mp3<\/a><\/audio><\/p>\n<p>Set 3<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-03.mp3<\/a><\/audio><\/p>\n<p>Set 4<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-04.mp3<\/a><\/audio><\/p>\n<p>Set 5<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-05.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-05.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-05.mp3<\/a><\/audio><\/p>\n<p>Set 6<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-06.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-06.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-06.mp3<\/a><\/audio><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.4-Aural-ID-of-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.4 Aural ID of predominant chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 42-5 Harmonic dictation with chromatic predominant chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-5 Harmonic dictation with chromatic predominant chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>For this exercise, play the recording of each dictation up to four times. Your tasks are to notate the bass and soprano voices on staff paper, provide Roman numeral labels beneath the staff, and identify the cadence type at the end of the progression. Each progression will feature at least one chromatic chord we have studied.<\/p>\n<p>Progression 1<\/p>\n<p><span><\/p>\n<div id=\"h5p-84\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-84\" class=\"h5p-iframe\" data-content-id=\"84\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 42.5 Harmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/01.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>Progression 2<\/p>\n<p><span><\/p>\n<div id=\"h5p-85\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-85\" class=\"h5p-iframe\" data-content-id=\"85\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 42.5 Harmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/02.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>Progression 3<\/p>\n<p><span><\/p>\n<div id=\"h5p-86\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-86\" class=\"h5p-iframe\" data-content-id=\"86\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 42.5 Harmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/03.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>Progression 4<\/p>\n<p><span><\/p>\n<div id=\"h5p-89\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-89\" class=\"h5p-iframe\" data-content-id=\"89\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 43.2 Harmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-D-minor.m4a?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-D-minor.m4a\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/04-D-minor.m4a<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>Progression 5<\/p>\n<p><span><\/p>\n<div id=\"h5p-88\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-88\" class=\"h5p-iframe\" data-content-id=\"88\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 43.2 Harmonic dictation\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-in-C-minor.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-in-C-minor.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/05-in-C-minor.mp3<\/a><\/audio><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex45.5-Harmonic-dictation-with-chromatic-predominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.5 Harmonic dictation with chromatic predominant chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 42-6 Contextual listening and transcription with +6<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-6 Contextual listening and transcription with +6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the excerpt. On a separate sheet of staff paper using the format below, notate the outer voices you hear, provide a Roman numeral analysis, label the cadence, and answer the questions that follow.<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Exercise-42.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Exercise-42.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Exercise-42.mp3<\/a><\/audio><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-1024x252.png\" alt=\"image of Grand staff, no key signature, 3\/4. Quarter note pickup in inner voice as G3. Eight bars, with ending repeat sign. First complete measure has C4 in treble clef, G3 in smaller typeface, and in bass clef C3. Beneath staff C major, with eight blanks for Roman numerals. In upper right, blank for cadence label.\" width=\"1024\" height=\"252\" class=\"alignnone wp-image-4590 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-1024x252.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-300x74.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-768x189.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-1536x378.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-65x16.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-225x55.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank-350x86.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/grand-staff-blank.png 2005w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<ol>\n<li>In a sentence or two, describe the voice leading in this example.<\/li>\n<li>Who is a likely composer of this piece?<\/li>\n<li>When was this piece written, most likely?<\/li>\n<\/ol>\n<p>Want more of a challenge? Notate all four parts on the staves below. Add dynamics and bowing articulations as well.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-1024x447.png\" alt=\"Set of four staves, eight full bars with quarter note pickup and ending repeat sign. First staff labeled Violin 1. Treble clef, 3\/4. Quarter note pickup G3, bar line, C4 as dotted quarter note. Remaining seven measures are blank. Second staff labeled Violin 2. Treble clef, 3\/4. Quarter rest, bar line, G3 as dotted quarter note. Remaining seven measures are blank. Third staff labeled Viola. Alto clef, 3\/4. Quarter rest, bar line, E3 as dotted quarter note. Remaining seven measures are blank. Fourth staff labeled Cello. Bass clef, 3\/4. Quarter rest, bar line, C3 as dotted quarter note. Remaining seven measures are blank.\" width=\"1024\" height=\"447\" class=\"alignnone wp-image-4591 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-1024x447.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-300x131.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-768x335.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-1536x670.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-65x28.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-225x98.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank-350x153.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/string-quartet-blank.png 2025w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.6-Contextual-listening-and-transcription-with-6.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.6 Contextual listening and transcription with +6<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Voice leading with augmented sixth chords<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T80 +6 video 4: Voice leading (4:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T80 Malawey&#39;s +6 video 4: VOICE LEADING\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/1RWQZAi1cVY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video demonstrates the basic voice leading connections between each augmented sixth chord and V. Spoiler alert: The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4494\">Ger.+6<\/a> doesn&#8217;t go immediately to V, but instead goes to the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_3007\">cadential six-four<\/a> first. Watch the video or continue reading to find out why.<\/p>\n<\/div>\n<\/div>\n<p>The principles of resolving augmented sixth chords are fairly straightforward. First, resolve the interval of the augmented sixth outward to an octave. To do this:<\/p>\n<ul>\n<li>The bass (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-710902cd85032f5127e31e26896ba9b0_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> or \u201cle\u201d) resolves down by step to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201csol\u201d)<\/li>\n<li>The voice containing <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (\u201cfi\u201d) resolves up by step to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201csol\u201d)<\/li>\n<\/ul>\n<p>The voice that contains tonic (\u201cdo\u201d) should move by step to the leading tone (\u201cti\u201d). If the augmented sixth chord moves to a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_3007\">cadential six-four<\/a> prior to resolving to the dominant chord, this voice will stay on tonic until it moves to the dominant chord. If there is more than one voice on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (\u201cdo\u201d), as in the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4493\">Italian augmented sixth<\/a> chord in a four-voice texture, move one voice from scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (\u201cdo\u201d) by step to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cti\u201d) and the other from scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (\u201cdo\u201d) to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cre\u201d).<\/p>\n<p>The voice containing scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cre\u201d) in a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4500\">French augmented sixth<\/a> chord will stay on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> when connecting to the dominant chord.<\/p>\n<p>In general, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4494\">German augmented sixth<\/a> chords will pass through a cadential six-four before moving to the dominant in order to avoid pesky parallel fifths. In minor keys, this means that the voice containing scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cme\u201d) will stay on <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cme\u201d) before resolving down to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cre\u201d). In major keys, we sometimes see an enharmonic spelling of the German augmented sixth chord, using <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-4e8fdd97eb25607f162f6f421bb578cc_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"15\" style=\"vertical-align: -4px;\" \/> (\u201cri\u201d) instead of <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-57a1e8cb7e5ecf037c0ca8184ac9c0b3_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"16\" style=\"vertical-align: 0px;\" \/> (\u201cme\u201d). Regardless of the spelling, this voice will move to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cmi\u201d) for the cadential six-four before moving down by step to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cre\u201d) as the fifth of the dominant chord.<\/p>\n<div class=\"textbox shaded\">Access a slideshow with the content from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Augmented sixth chords slides<\/a><\/div>\n<h1><a><\/a>EXERCISE 42-7 Voice leading with +6 chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-7 Voice leading with +6 chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Given the Roman numerals, complete each passage for four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_2799\">SATB<\/a>) following the guidelines for part writing we have studied.<\/p>\n<p>(1)<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-1024x372.png\" alt=\"Grand staff, one sharp, 4\/4. First chord G2, B3, G4, D5. Beneath staff in G major: one, Italian augmented sixth, five, one.\" width=\"1024\" height=\"372\" class=\"alignnone wp-image-3896 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-1024x372.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-300x109.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-768x279.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-1536x558.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-65x24.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-225x82.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1-350x127.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no1.png 1696w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>(2)<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-1024x329.png\" alt=\"Grand staff, two sharps, 3\/2. First chord B2, B3, F-sharp 4, D5. Beneath staff in B minor: one, French augmented sixth, five, one.\" width=\"1024\" height=\"329\" class=\"alignnone wp-image-3897 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-1024x329.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-300x96.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-768x246.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-1536x493.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-225x72.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2-350x112.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no2.png 1804w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>(3)<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-1024x312.png\" alt=\"Grand staff, one flat, 4\/2. First chord D3, A3, D4, F4. Beneath staff in D minor: one, German augmented sixth, cadential six-four, five, one.\" width=\"1024\" height=\"312\" class=\"alignnone wp-image-3898 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-1024x312.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-300x91.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-768x234.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-1536x467.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-65x20.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-225x68.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3-350x107.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/VL-no3.png 1804w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.7-Voice-leading-with-6.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.7 Voice leading with +6<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 42-8 Analysis with N6 and +6 chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 42-8 Analysis with N6 and +6 chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>PART 1. Study and listen to the following excerpt, and complete a Roman numeral analysis on the blanks beneath the staff. Circle all non-chord tones that appear in the melody. Be on the lookout for all of our favorite chromatic friends\u2014secondary dominants, borrowed chords, Neapolitan sixths, and augmented sixth chords. Then answer the questions below.<\/p>\n<ol>\n<li>What do the four chords in mm. 44\u201345 all have in common?<\/li>\n<li>Describe how Schubert uses <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4287\">mode mixture<\/a> in this example.<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 42\u20112. Franz Schubert, Impromptu in G-flat major, op. 90, no. 3, mm. 43\u201352<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-797x1024.png\" alt=\"image of score with blanks beneath staff for Roman numerals in E-flat minor\" width=\"797\" height=\"1024\" class=\"alignnone wp-image-3900 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-797x1024.png 797w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-233x300.png 233w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-768x987.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-1195x1536.png 1195w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-1594x2048.png 1594w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-65x84.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-225x289.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1-350x450.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2-analysis-pt1.png 1853w\" sizes=\"auto, (max-width: 797px) 100vw, 797px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2.mp3?_=17\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/1vBpbeyQhk0JPVaKieVl6d?si=76c82be56bb44415\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<p>PART 2. Study and listen to the following excerpt from the same piece, and complete a Roman numeral analysis on the blanks beneath the staff. Circle all non-chord tones that appear in the melody. Then answer the questions below.<\/p>\n<ol>\n<li>Describe how Schubert uses <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_2565_4287\">mode mixture<\/a> in this example.<\/li>\n<li>Consider the voice leading of the second chord in m. 76. Does this chord resolve in the way you expect it to? If so, what aspects of the voice leading conform to your expectations? If not, why not?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 42\u20113. Franz Schubert, Impromptu in G-flat major, op. 90, no. 3, mm. 74\u201378<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-1024x776.png\" alt=\"image of score with blanks beneath staff for Roman numerals in G-flat major\" width=\"1024\" height=\"776\" class=\"alignnone wp-image-3901 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-1024x776.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-300x227.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-768x582.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-1536x1164.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-65x49.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-225x170.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2-350x265.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3-analysis-pt2.png 1832w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-2565-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3.mp3?_=18\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-42.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Alfred Brendel, on <a href=\"https:\/\/open.spotify.com\/track\/1vBpbeyQhk0JPVaKieVl6d?si=76c82be56bb44415\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex42.8-Analysis-with-N6-and-6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex42.8 Analysis with N6 and +6 chords<\/a><\/div>\n<\/div>\n<\/div>\n<div id=\"sdfootnote1sym\">\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 42<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/youtu.be\/NiPU_suLjJw?si=mrWSljmqbl0F_XAb\" target=\"_blank\" rel=\"noopener\">Primer video on augmented sixth chords<\/a>\u00a0(Dry Erased Theory)<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=wLkLwok1wHY\" target=\"_blank\" rel=\"noopener\">Dr. Kati Meyer\u2019s video with musical examples and practice problems<\/a><\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=wn1yNVd6un8\" target=\"_blank\" rel=\"noopener\">Detailed video on augmented sixth chords<\/a>\u00a0(Dr. C&#8217;s Music Theory Land)<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=nyTofH5rk78\" target=\"_blank\" rel=\"noopener\">&#8220;International Chords Song&#8221; by David Newman<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_2565_4490\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4490\"><div tabindex=\"-1\"><p>predominant chord resulting from chromatic voice leading that intensifies the approach to the dominant by using half-step motion; all augmented sixth chords contain an augmented sixth interval between scale degrees flat-6 (\"le\") and sharp-4 (\"fi\")<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4391\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4391\"><div tabindex=\"-1\"><p>striking major triad with predominant function built off the root of lowered scale degree 2 (\u201cra\u201d), most often found in first inversion<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4493\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4493\"><div tabindex=\"-1\"><p>type of augmented sixth chord containing scale degrees flat-6, 1, and sharp-4; abbreviated as \"It.+6\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4494\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4494\"><div tabindex=\"-1\"><p>type of augmented sixth chord containing scale degrees flat-6, 1, flat-3, and sharp-4; abbreviated as \"Ger.+6\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_3007\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_3007\"><div tabindex=\"-1\"><p>type of second inversion triad that has scale degree 5 in the bass and resolves to a dominant chord, extending dominant function, usually at a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_249\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_249\"><div tabindex=\"-1\"><p>term referring to two notes, intervals, or chords that sound the same, but are spelled differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4500\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4500\"><div tabindex=\"-1\"><p>type of augmented sixth chord containing scale degrees flat-6, 1, 2, and sharp-4; abbreviated as \"Fr.+6\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_1365\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_1365\"><div tabindex=\"-1\"><p>scale consisting of whole steps exclusively<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_2148\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_2148\"><div tabindex=\"-1\"><p>process in which a repeating pattern of root motion appears in a harmonic progression<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4711\"><div tabindex=\"-1\"><p>short passage of music in a new key, longer than a tonicization but not a full modulation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_4287\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_4287\"><div tabindex=\"-1\"><p>use of chromatic chords that exist diatonically in the parallel major or minor mode<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_2565_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_2565_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":42,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-2565","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/2565","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":92,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/2565\/revisions"}],"predecessor-version":[{"id":7161,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/2565\/revisions\/7161"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/2565\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=2565"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=2565"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=2565"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=2565"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}