music theoy in a newkeyหน้า87-112(ภาษาไทยแปลแล้วด้วย)

7/31/2019 music theoy in a newkey 87-112( )

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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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89

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#





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

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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)


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


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)


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


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:

110


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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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