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CHROMATIC HARMONY
18. CHROMATIC CHORDS
18a. Chromatic Chord Definition (
)
A chromatic chord has tones that are NOT in the scale of the key of the
Composition (
), the scale
indicated() by the key signature and beginning and ending chords andmelodies.
(
)
Most() compositions contain() chords spelled from scales(
) other than the scale of the key of thecomposition,. These() chromatic chords contain accidentals - sharps, flats, ornaturals that are ()(1) required by() scale steps() inthe new immediate() scale
(
) OR (2) tones from the chromatic scale. (
)
When the immediate scale changes within() a composition(
), accidentals indicate thenew scale steps
(
). The key signature does not change for brief() changes ofscale.
(
)
18b. Two Types of Chromatic Chords
There are two types of chromatic chords:
(1) Chords spelled from a new immediate scale(
). These are diatonic chords(-)that
contain accidentals required by the new immediate scale(
). Chords spelled from a new immediate scale are
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modulations() (see 19b), secondary dominants(V/V) (see19d), secondary viios,secondary dominant chains
(V/V)(19e), and borrowed chords
() (see 19g).
(2) Chords in which( ) one or more( ) chromatic tones
substitute() for a chord tone
(
). This occurs() in two manners:
( 2 )
(2a) A chromatic tone replaces() a chord tone. These chromatic chords include
()
(
....)
Aug-mented Sixth chords (see 21a), Neapolitan Sixth chords (see 21b), and V7 (V9,V11, V13) chords with raised (sharped) fifth or lowered fifth indicated as a raised (
)(sharped) fourth (see 21c).
(2b.) The chromatic tone resolves( ) to a chord tone,
completing() the chord before the next chord arrives() (see 22a).
(
)
These include the famous Tristan Chord(see example below).
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19. CHROMATIC CHORDS SPELLED FROM A NEW IMMEDIATE SCALE
Most chromatic chords are diatonic chords spelled from a new immediate scale.
When the scale changes, spell all chords and non-chord tones from the new
immediate scale, adding accidentals as required.
19a. How V7 (or V9, V11, V13) and viio7 determine the immediate tonicscalestep
Memorize the spelling of all dominant seventh chords with Spell ID, Contents >
Seventh Chord Symbols > Dominant Sevenths.
A V7 chord (or V9, V11, V13) is spelled from one and only one scale.That scale has a tonic scale step a perfect fifth below the root of the V7.
Therefore a V7 chord (or V9, V11, V13) defines the tonic step of thescale from which it is spelled.
Chord(s) preceding and/or following the V7 define the major orminor scale
quality.
A viio7 chord is spelled from one and only one scale. That scale has a
tonic scale step with a different note name one half-step above the root of
the viio7.
Therefore a viio
7 chord defines the tonic step of the scale fromwhich it is
spelled.
Chord(s) preceding and/or following the viio7 define the major orminor scale
quality.
NOTE: Lead sheet chord symbols often label viio7 chords incorrectly leading to
incorrect identification of the tonic scale step. Examine the immediately preceding and
following chords to identify the correct viio7 chord symbol.
19b M d l ti
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19b. Modulation
Modulation consists of two or more immediately adjacent chords spelled from a new
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immediate scale, one of which must be a V, V7, V9, V11, V13, vii, or vii7.
Spell a modulating V or viio from a new immediate scale and immediately precede
and/or follow the V or vii
o
with chords and non-chord tones that are scale steps in the newimmediate scale.
A new I or i chord preceding or following the V or vii o may occur but is not re-
quired. For example, ii followed by V7, both spelled from the same new immediate scale, is a
modulation.
Direct modulation, an abrupt change of scale without a V or vii o, also occurs.
NOTE: A modulation does NOT require a pivot chord, a chord spelledfrom the previous scale whose chord tones also occur in the new scale.
NOTE: A modulation does NOT require a new tonic chord.
There are numerous modulations in the literature that do NOT contain a pivot chord or a
tonic chord.
For example:
(1) What is the immediate scale defined by D7 preceded by Amin?
The D7 is a dominant seventh chord constructed ONLY on the fifth scale step of a G scale.
Amin is a ii triad in the scale of G Major.
Therefore, the immediate scale is G Major.
(2) What is the immediate scale defined by B7 followed by Emin?
The B7 is a dominant seventh chord constructed ONLY on the fifth scale step of an E
scale. Emin is a i triad in the scale of E minor.
Therefore, the immediate scale is E minor.
(3) What is the immediate scale defined by A9 preceded by Bmin?
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The A9 is a dominant ninth chord constructed ONLY on the fifth scale step of a D scale.
Bmin is a vi triad in the scale of D Major.
Therefore the immediate scale is D Major.
19c. Difference between a Modulation and a Secondary Dominant
Modulations and secondary dominants each require a V (or V7, V9, V11, V13) or
viio (or viio7) chord. The difference between a secondary dominant and a modulation is:
(1) TWO or more adjacent chords including the required V or viio and accompany-
ing non-chord tones (if any) spelled from a NEW immediate scale indicate a modulation.
(2) ONE V or viio chord and accompanying non-chord tones (if any), spelled from a new
immediate scale and preceded and/or followed by chords spelled from a DIFFERENT scale or
scales indicates a secondary dominant or secondary viio.
19d. Secondary Dominants
A secondary dominant satisfies two conditions:
1. Only chord and non-chord tones spelled from a different scale or its parallel scaleprecede and follow the secondary V or viio chords.
2. The secondary V or viio resolves in a cadence pattern to a chord whose chord
tones and accompanying non-chord tones (if any) are spelled from the
scale immediately preceding the secondary dominant.
Only a V or vii (or a V7, V9, V11, V13 or vii7) may be a secondary dominant.
Spell a secondary dominant V or vii (or V7, V9, V11, V13 or vii7) from a new
immediate scale and resolve (follow) the secondary dominant in an authentic or deceptive
cadence pattern to a chord spelled from the previous scale.
Spell all tones in (and any non-chord tones simultaneous with) the resolution chord from
the immediately preceding scale or its parallel scale. Otherwise, a modulation or a secondary
dominant chain (see 19e) occurs.
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In most instances, a secondary V7 or vii7 resolves in an authentic cadence pattern.
Infrequently, a secondary V7 or vii7 resolves in a deceptive cadence pattern.
SECONDARY V7s IN AUTHENTIC CADENCES
Spell a secondary dominant, a V (or V7, V9, V11, V13) chord, from a new scale
with a tonic scale step that is the root of a chord on the second, third, fourth, fifth, or sixth scale
step in the immediately preceding scale or its parallel scale.
Examine the triad indicates after (or below) the line in the symbol for the V7 sec-ondary dominant. If the triad is major, the immediate scale for the spelling of the V7
secondary dominant is a major scale with the root of that triad as the tonic. If the triad is
minor or diminished, the immediate scale for the spelling of the V7 secondary dominant
is a harmonic or melodic minor scale with the root of that triad as the tonic.
HOW TO SPELL SECONDARY V7s IN AUTHENTIC CADENCES
For example,
(1) Spell F Major: V7/V, followed by V7.
The triad on the fifth scale step of the F Major scale is a C major triad. Therefore theimmediate scale for the spelling of the secondary V7 is C Major.
C Major: V7 = G, B, D, F; therefore F Major: V7/V = G, B, D, F. The
resolution chord is F Major: V7 = C, E, G, Bb.
(2) Spell D minor: V7/ii, ii7.
The chord on the second scale step of the D minor scale is an E diminished triad.
Therefore the immediate scale for the spelling of the secondary V7 is E minor.
E minor: V7 = B, D#, F#, A; therefore D minor V7/ii = B, D#, F#, A.
The resolution chord is D minor: ii7. () indicates a half-diminished seventh
chord.)
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D minor: ii7 = E, G, Bb, D.
Memorize secondary V7s in authentic cadences with Spell ID, Contents > Secondary
V7s > Keys to 1b or 1#
Memorize secondary V7s in authentic cadences with Spell ID, Contents > Secondary
V7s > Keys to 3b or 2#
Memorize secondary V7s in authentic cadences with Spell ID, Contents > Secondary
V7s > Keys to 4b or 4#
SECONDARY V7s IN DECEPTIVE CADENCES
Spell the secondary V7 as above.
Determine the immediate scale for spelling the deceptive resolution from the nameof the triad after (or below) the line in the symbol for the deceptive resolution. If the triad
is major, the immediate scale for the spelling of the deceptive resolution chord is a
major scale with the root of that triad as the tonic. If the triad is minor or diminished, the
immediate scale for spelling the deceptive resolution is a minor scale with the root of that
triad as the tonic.
HOW TO SPELL SECONDARY V7s IN DECEPTIVE CADENCES
For example,
(1) Spell F Major: V7/V, vi7/V.
The triad on the fifth scale step of the F Major scale is a C Major triad. Therefore the
immediate scale is C major.
C Major: V7 = G, B, D, F; therefore in F Major: V7/V = G, B, D, F.
The deceptive resolution is vi7/V. This indicates a vi7 chord in the new immediate
scale of C Major,
C Major vi7 = A, C, E, G; therefore in F Major: vi7/V = A, C, E, G.
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NOTE: A, C, E, G is iii7 in F Major. Therefore no modulation occurs unless the
deceptive resolution chord is accompanied by non-chord tones or following chords only in
the new immediate scale of C Major.
(2) Spell D minor: V7/VI, vi7/VI.
The triad on the sixth scale step of the D minor scale is a Bb Major triad. Therefore the
new immediate scale is Bb major.
Bb Major: V7 = F, A, C, Eb; therefore in D minor: V7/VI = F, A, C, Eb.
The deceptive resolution chord is vi7/VI. This indicates a vi7 chord in the new
immediate scale of Bb Major.
Bb Major: vi7 = G, Bb, D, F; therefore D minor: vi7/VI = G, Bb, D, F.
NOTE: G, Bb, D, F is iv7 in D minor. Therefore no modulation occurs unless the
deceptive resolution chord is accompanied by non-chord tones or following chords only in
the new immediate scale of Bb Major.
In the Beethoven example below, the second bar contains a deceptive resolution of a
secondary dominant. The chord of resolution is IV in the immediate scale preceding thesecondary dominant (E Major); therefore no modulation occurs. The scale changes only
for the spelling of secondary dominant, a dominant seventh spelled from the scale of C#
minor.
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SECONDARY vii7s IN AUTHENTIC CADENCES
Spell a secondary viio or viio7 chord from a new scale with a tonic scale step that is the root
of a chord on the second, third, fourth, fifth, or sixth scale step in the immediately preceding
scale or its parallel scale.
Identify the note name of the triad after (or below) the line in the symbol for the vii7
secondary dominant. A vii7 chord occurs only on the seventh scale step of the harmonic
minor scale. Therefore, spell the vii7 chord from a harmonic minor scale with the root of the
indicated resolution triad as the tonic.
HOW TO SPELL SECONDARY vii7s IN AUTHENTIC CADENCES
For example:
(1) Spell D Major: vii7/V, V7.
The fifth scale step of the D Major scale is A. Therefore the immediate scale is an A
harmonic minor scale.
A harmonic minor: vii7 = G#, B, D, F; therefore D Major: vii7/V = G#, B, D, F.
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The authentic resolution chord is V7.
D Major: V7 = A, C#, E, G.
(2) Sell C minor: vii7/iv, iv7.
The fourth scale step of the C minor scale is F. Therefore the immediate scale is an F
harmonic minor scale.
F minor: vii7 = E, G, Bb, Db; therefore C minor: vii7/iv = E, G, Bb, Db.
The authentic resolution chord is iv7.
C minor: iv7 = F, Ab, C, Eb.
Memorize secondary viio7s in authentic cadences with Spell ID, Contents >
Secondary viio7ss> Keys to 1b or 1#
Memorize secondary viio7s in authentic cadences with Spell ID, Contents > Secondary
viio7ss> Keys to 3b or 2#
Memorize secondary viio7ss in authentic cadences with Spell ID, Contents >
Secondary viio7s > Keys to 4b or 4#
SECONDARY vii 7s IN DECEPTIVE CADENCES (RARE)
Spell the secondary viio7 as above.
Determine the immediate scale for spelling the deceptive resolution from the nameof the triad after (or below) the line in the symbol for the deceptive resolution. If the triad
is major, the immediate scale for the spelling of the deceptive resolution chord is a
major scale with the root of that triad as the tonic. If the triad is minor or diminished, the
immediate scale for spelling the deceptive resolution is a minor scale with the root of that
triad as the tonic.
HOW TO SPELL SECONDARY vii7s IN DECEPTIVE CADENCES
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For example:
(1) Spell D Major: vii7/V, vi7/V.
The fifth scale step of the D Major scale is A. Therefore spell the vii 7 from the
immediate scale of A harmonic minor.
A harmonic minor: vii7 = G#, B, D, F; therefore D Major: vii7/V = G#, B, D, F.
The deceptive resolution is D Major: vi7/V. The triad on the fifth scale step of the D
Major scale is A Major. This indicates a vi7 chord spelled from the new immediate scale
of A Major.
A Major: vi7 = F#, A, C#, E; therefore D Major vi7/V = F#, A, C#, E.
NOTE: F#, A, C#, E is iii7 in D Major, the previous scale. Therefore no modulation
occurs unless the deceptive resolution chord is accompanied by non-chord tones or followingchords only in the new immediate scale of A Major.
(2) Spell C minor: vii7/VI, vi7/VI.
The normal sixth scale step of the C minor scale is an Ab. Therefore spell the vii7
from the immediate scale of Ab harmonic minor.
Ab harmonic minor: vii7 = G, Bb, Db, Fb; therefore C minor: vii7/VI = G, Bb,
Db, Fb.
The deceptive resolution chord is C Minor: vi7/ VI. The triad on the sixth scale step
of C minor is Ab Major. This indicates a vi7 chord in the immediate scale of Ab Major.
Ab Major: vi7 = F, Ab, C, Eb; therefore C minor: vi7/VI = F, Ab, C, Eb.
NOTE: F, Ab, C, Eb is vi7 in Ab Major, the previous scale. Therefore no modulation
occurs unless the deceptive resolution chord is accompanied by non-chord tones or following
chords only in the new immediate scale of C minor.
(3) Spell E minor: vii7/VI, vi7/VI.
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The normal sixth scale step of the E minor scale is a C. Therefore spell the vii7from the immediate scale of C harmonic minor.
C harmonic minor: vii7 = B, D, F, Ab; therefore E minor: vii7/VI = B, D, F, Ab.
The deceptive resolution is E Minor: vi7/ VI. The triad on the sixth scale step of the
E minor scale is C Major. This indicates a vi7 chord in the immediate scale of C Major.
C Major: vi7 = A, C, E, G. Therefore, E minor: vi7/VI = A, C, E, G.
NOTE: A, C, E, G is iv7 in E minor; the previous scale. Therefore no modulation
occurs unless the deceptive resolution chord is accompanied by non-chord tones or
following chords only in the new immediate scale of C Major.
(4) Spell G Major: vii7/V, vi7/V.
The fifth scale step of the G Major scale is D. Therefore spell the vii 7 from theimmediate scale of D harmonic minor.
D harmonic minor: vii7 = C#, E, G, Bb; therefore G Major vii7/V = C#, E, G, Bb.
The deceptive resolution is G Major: vi7/ V. The triad on the fifth scale step of the
G Major scale is D Major. This indicates a vi7 chord in the immediate scale of D Major.
D Major: vi7 = B, D, F#, A. Therefore, G Major: vi7/V = B, D, F#, A.
NOTE: B, D, F#, A is iii7 in G Major, the previous scale. Therefore no modulation
occurs unless the deceptive resolution chord is accompanied by non-chord tones or following
chords only in the new immediate scale of D Major.
19e. Secondary Dominant Chain
A secondary dominant chain consists of immediately successive V triads (or V7, V9,
V11, V13 chords), each spelled from a scale whose tonic is a perfect fifth above the next
V. The concluding V resolves in an authentic or deceptive cadence.
A secondary dominant chain satisfies two conditions:
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1. Only chord and non-chord tones in the previous scale or its parallel scale precede and
follow the succession of secondary V chords.
2. The concluding secondary V resolves in a cadence pattern to a chord whose
chord tones and accompanying non-chord tones (if any) are spelled fromthe scale immediately previous to the secondary dominant chain.
HOW TO SPELL A SECONDARY DOMINANT CHAIN
Determine the immediate scale from which to spell each of the secondary domi-nants. As above, identify the note name and quality of the triad immediately after (or
below) the line in the symbol for the V7 secondary dominant. Then spell each secondary
dominant in succession and the concluding resolution.
For example:
(1) Spell C Major: V7/V/V followed by V7/V followed by V7.
Determine the chord of resolution for the first V7 in the secondary dominant chain.
C Major: V7/ V/V = V7 of D Major of G Major. V7 of D Major = A7 or A, C#, E, G.
Therefore C Major: V7/V/V = A, C#, E, G.
Determine the chord of resolution for the second V7 in the secondary dominant
chain. C Major: V7/V = V7 of G Major = D7 or D, F#, A, C.
Therefore C Major: V7/V = D, F#, A, C.
Determine the concluding chord in the secondary dominant chain.
Therefore C Major: V7 = G7 or G, B, D, F.
(2) Spell D minor: V7/V/VI followed by V7/VI followed by VI.
Determine the chord of resolution for the first V7 in the secondary dominant chain.
D minor V7/V/VI = V7 of F Major of Bb Major. V7 of F Major = C7 or C, E, G. Bb.
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Therefore D minor: V7/V/VI = C, E, G, Bb.
Determine the chord of resolution for the second V7 in the secondary dominant
chain. D minor: V7/VI = V7 of Bb Major. = F7 or F, A, C, Eb.
Therefore D minor: V7/VI = F, A, C, Eb,
Determine the chord of resolution in the secondary dominant chain.
Therefore D minor: VI = Bb, D, F.
19f. Secondary Dominant Chain in Lead Sheet
In Five Foot Two below, the key of the composition is C Major. The second chord is an
E7 that resolves to an A7, a successive V7 chord with root a perfect fifth lower than the E7.
The A7 resolves to a D7 with root a perfect fifth lower than the A7. The D7 resolves to a G7
which resolves to C Major: I.
The chord succession is therefore a secondary dominant chain resolving to a tonic
triad.
Secondary Dominant Chain:
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19g. Borrowed Chords.
A borrowed chord is a chord spelled from the immediate parallel scale.
The parallel minor scale is the minor scale with the same tonic scale step as the immediate
major scale. The parallel major scale is the major scale with the same tonic scale step as the
immediate minor scale.
Spell a borrowed chord from the minor scale with the same tonic scale step as the
immediate major scale (frequent); OR, spell a borrowed chord from the major scale with the
same tonic scale step as the immediate minor scale (infrequent).
Alterations of dominant chords such as V9b, V11b9, or V13b are also chords borrowed
from the parallel minor scale if the immediate scale is major.
For example:
(1) Spell the borrowed sub-dominant, C Major: iv. The
parallel minor of C major is C minor.
Therefore the borrowed sub-dominant of C Major is C minor: iv or F, Ab, C.
(2) Spell the borrowed sub-mediant, G Major : VI.
The parallel minor of G major is G minor.
Therefore the borrowed sub-mediant of G Major is G minor: VI or Eb, G, Bb.
(3) Spell the borrowed tonic, Bb Major : i.
The parallel minor of Bb major is Bb minor.
Therefore the borrowed tonic of Bb Major is Bb minor: i or Bb, Db, F.
Identify borrowed chords by ear with Chord ID > Levels > Major + Borrowed iv.
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Identify borrowed chords by ear with Chord ID > Levels > Major + Borrowed i.
Identify borrowed chords by ear with Chord ID > Levels > Major + Borrowed ii o.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed VI.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed i, iv.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed i, VI.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed iv, ii o.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed iio, VI.
Identify borrowed chords with Chord ID > Levels > Major + Borrowed i, ii o, iv, VI.
19h. Harmonic Analysis of a Bach Chorale
The following analysis of J. S. Bachs Ach wie Nichtig, ach wie Fl tig includes
new immediate scales, a secondary dominant, and borrowed chords.
Bar 1, beats 2 and 3, the key signature and the V-i in A minor establishes A minor as the
key of the composition.
Bar 2, beats 2 and 3, the V-I in C Major indicates a new immediate scale of C Major. Bar
3, beat 3, is a IV7 spelled from the A melodic minor ascending scale.
Bar 3, beats 3.5 and 4, the V7 followed by i in A minor indicates a new immediate scaleof A minor.
Bar 4, beat 3, the A major triad is a chord borrowed from A major.
Bar 5, beats 1-3, the V-1 in D minor indicates a new immediate scale of D minor. Bar
6, beat 4, the D major triad is a chord borrowed from D Major.
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Bar 7, beats 1-3, the V-I in C Major indicates a new immediate scale of C Major.
Bar 9, beats 3 and 4, the V-i in A minor indicates a new immediate scale of A mi-
nor.
Bar 10, beat 1, the B7 chord is a secondary dominant of V, or E major. The immediate
scale from which this secondary dominant chord is spelled is E Major.
Bar 10, beat 4, the A major triad is a tonic chord borrowed from A major.
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19j. Secondary viio7 and Borrowed Chord in a Jazz Standard 103
In George Gershwins Embraceable You, the chord in bar 2 is a vii o7, C#, E, G, Bb,
which defines D as the tonic scale step. The next chord is a ii7 in G Major followed by a
V7 in G Major. Therefore the viio7 chord in bar 2 is a secondary dominant and not a mod-
ulation. The immediate scale for bar 2 is a D Major scale, the key of the dominant, with a
flatted sixth scale step (Bb) because the viio7 is borrowed from D harmonic minor.
The F7 chord in bar 6 is a major/minor seventh chord that would normally define a Bb
tonic. However, the B natural in the melody, a non-chord tone, indicates that the immediate
scale is not Bb Major. Instead, the F7 is a VII7 spelled from the scale of G natural minor, a
chord borrowed from the G natural minor scale.
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20. CHROMATICALLY ALTERED CHORDS
20a. Two Types of Chromatically Altered Chords
A chromatic scale step replaces a diatonic chord tone in two manners.
(1) A chromatic scale step replaces a chord tone. These chromatic chords include
Augmented and Neapolitan Sixth chords and V7 (V9, V11, V13) chords with raised
(sharped) or lowered (flatted) fifths.
(2) A chromatic scale step resolves to a chord tone, completing the chord before the nextchord occurs. These include the famous Tristan Chord (see below).
20b. The Immediate Scale Simultaneous with Chromatically Altered Chords
When a tone from the chromatic scale replaces a diatonic chord tone,
the chromatic scale step replaces the original diatonic scale step in theimmediate scale for the duration of the chord.
21. CHROMATIC TONE REPLACES CHORD TONE
21a. Augmented Sixth Chords
There are three augmented sixth chords: Italian Augmented Sixth, German Aug-mented Sixth, and French Augmented Sixth. Some authorities include a fourth, a doubly
augmented sixth which is a respelling of the German Augmented Sixth chord.
The augmented sixth chord is normally (but not always) in first inversion. The chord third
is in the lowest voice.
When the chord third is in the lowest voice, the interval of an augmented sixth appears
between the lowest voice and one of the upper voices.
The chord immediately following an augmented sixth chord is normally a V, V7, or
I 64
spelled from the immediate scale.
ITALIAN AUGMENTED SIXTH
The Italian Augmented Sixth is an altered subdominant triad (IV or iv) spelled from
the immediate scale.
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If the immediate scale is major, raise (sharp) the root, lower (flat) the third, and place the
chord in first inversion.
If the immediate scale is minor, raise (sharp) the root and place the chord in firstinversion.
For example,
(1) Spell C Major: Italian Augmented Sixth chord (It A6).
C: IV = F, A, C. Raise the root to F#; lower the third to Ab. Place the chord in first
inversion.
Therefore C Major: Italian A6 = Ab, C, F#.
(2) Spell Eb minor: Italian Augmented Sixth chord (It A6).
Eb Minor: iv = Ab, Cb, Eb. Raise the root to A natural; the immediate scale is minor so
the third is already lowered to Cb = no action. Place the chord in first inversion.
Therefore Eb minor: Italian A6 = Cb, Eb, A natural.
Memorize Italian Augmented Sixth Chords with Spell ID, Contents > Augmented
Sixths > Italian Sixths.
GERMAN AUGMENTED SIXTH
The German Augmented Sixth is an altered subdominant seventh chord (IV7 or iv7)
spelled from the immediate scale.
If the immediate scale is major, raise (sharp) the root, lower (flat) the third, lower (flat)
the seventh, and place the chord in first inversion.
If the immediate scale is minor, raise (sharp) the root, lower (flat) the seventh, and
place the chord in first inversion.
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For example,
(1) Spell G Major: German Augmented Sixth chord (Gr A6).
G: IV7 = C, E, G, B. Raise the root to C#; lower the third to Eb; lower the seventh to Bb,
and place the chord in first inversion.
Therefore G Major: German A6 = Eb, G, Bb, C#.
(2) Spell A minor: German Augmented Sixth chord (Gr A6).
A Minor: iv7 = D, F, A, C. Raise the root to D#, lower the seventh to Cb, and place the
chord in first inversion.
Therefore Eb minor: Italian A6 = F, A, C, D#.
Memorize German Augmented Sixth Chords with Spell ID, Contents > AugmentedSixths > German Sixths.
FRENCH AUGMENTED SIXTH
The French Augmented Sixth is an altered supertonic seventh chord (ii7 or ii7)
spelled from the immediate scale.
If the immediate scale is major, raise (sharp) the third, lower (flat) the fifth, and
place the chord in second inversion.
If the immediate scale is minor, raise (sharp) the root and place the chord in second
inversion.
For example,
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(1) Spell F Major: French Augmented Sixth chord (Fr A6).
F Major: ii7 = G, Bb, D, F. Raise the third to B natural; lower the fifth to Db, and
place the chord in second inversion.Therefore F Major: French A6 = Db, F, G, B natural..
(2) Spell D minor: French Augmented Sixth chord (Fr A6).
D minor ii7 = E, G, Bb, D. Raise the third to G#, and place the chord in second
inversion.
Therefore D minor: French A6 = Bb, D, E, G#,
Memorize French Augmented Sixth Chords with Spell ID, Contents > Augmented
Sixths > French Sixths.
Augmented Sixth Chords in C:
21b Neapolitan Sixth Chord
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21b. Neapolitan Sixth Chord
NEAPOLITAN SIXTH CHORD
The Neapolitan Sixth Chord is an altered supertonic triad (ii or ii o) spelled from the
immediate scale.
If the immediate scale is major, lower (flat) the root, lower (flat) the fifth, and place the
chord in first inversion.
If the immediate scale is minor, lower (flat) the root and place the chord in first inversion.
The Neapolitan Sixth chord normally resolves to a V, V7 or I 64 spelled from the
immediate scale.
For example:
(1) Spell F Major: Neapolitan Sixth (N6).
F Major ii = G, Bb, D. Lower the root to Gb; lower the fifth to Db, place the triad in first
inversion.
Therefore F Major: N6 = Bb, Db, Gb.
(2) Spell C minor: Neapolitan Sixth (N6).
C minor iio = D, F, Ab. Lower the root to Db; place the triad in first inversion.
Therefore C minor: N6 = F, Ab, Db.
Memorize Neapolitan Sixth Chords with Spell ID, Contents > Neapolitan Sixths
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21c. Dominant Seventh Chords with Altered Fifth
Dominant V7, V9, V11, V13, V7b9, V11b9, and V7b13 chords may have a raised or
lowered chord fifth. This alteration is frequent in jazz styles.
The raised fifth is indicated as in C7#5 or F Major: V7#5.
For example:
(1) Spell C Major: V7#5.
C Major: V7 = G, B, D, F. Raise the fifth, D, to D#.
Therefore C Major: V7#5 = G, B, D#, F.
(2) Spell A7#5.
A7 = A, C#, E, G. Raise the fifth, E, to E sharp.
Therefore A7#5 = A, C#, E#, G.
(3) Spell Eb7#5. Eb7 = Eb, G, Bb, Db. Raise the fifth, Bb, to B natural. Therefore B7#5 =
Bb, D E natural, Db.
Dominant Sevenths with Raised Fifth:
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Memorize dominant sevenths with raised fifth with Spell ID, Contents .> V7 #4 #5 >
Dominant 7th sharp 5.
The V7 with flatted fifth is normally indicated as a V7 with raised fourth as in C7#4 or FMajor: V7#4. Omit the fifth when the fouth is raised. (The sharp 4 is the same note as an
augmented 11th.)
For example:
(1) Spell D Major: V7#4.
D Major: V7 = A, C#, E, G, Omit the fifth. Raise the fourth above the root, D, to D#.
Therefore D Major: V7#4 = A, C#, D#, G.
(2) Spell Bb7#4.
Bb7 = Bb, D, F, Ab. Omit the fifth. Raise the fourth above the root, Eb, to E natural.
Therefore Bb7#4 = Bb, D, E natural, Ab.
(3) Spell E7#4.
E7 = E, G#, B, D. Omit the fifth. Raise the fourth above the root, A, to A#.
Therefore E7#4 = E, G#, A#, D.
111
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Dominant Sevenths with Raised Fourth:
Memorize dominant sevenths with raised fourth with Spell ID Contents .> V7 #4 #5
>Dominant 7th sharp 4.
22. CHROMATIC NON-CHORD TONE RESOLVES TO A CHORD TONE
22a. Chords with Chromatic Passing Tones or Chromatic
Appoggiaturas() that Sound as a Chord Tone Before Resolving
to the True Chord Tone
The chromatic passing tone or chromatic appoggiatura resolves immediately up or
down by one half-step() to a chord tone, completing the chord before
the next chord arrives.
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The source() of the chromatic tone is counterpoint, the combination()of simultaneous() melodies. Melody consists( ) ofsuccessive chord tones and non-chord tones. Determine() the name of a non-chord
tone by the melodic motion to and from the immediately preceding and following chord tones.The names of single non-chord tones are: passing tone, neighboring tone, escape tone,
anticipation, appoggiatura, free tone, suspension, and pedal point().
The following table presents the nine possible single non-chord tone patterns.
Non-Chord Tone Motion to chord tone from chord tone
passing tone step step
neighboring tone step step
escape tone step skip
anticipation step or skip repeated note
appoggiatura skip step
free tone skip skipsuspension sustained step
irregular suspension sustained skip
pedal point sustained sustained
See H. Gilbert Trythall: EIGHTEENTH CENTURY COUNTERPOINT, Brown and
Benchmark, 1993, for a complete discussion of tonal counterpoint as practiced by J. S. Bach. Outof print, used copies sometimes available from Amazon.com.
Richard Wagner: Prelude to Tristan and Isolde, Bars 1-7
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