[BurntHombre]

I didn't really understand your post, but I am proud of you, and I'm very pleased to learn that the Krauts have their very own chords.

[CheshireCat]

Originally Posted by BurntHombre

I didn't really understand your post, but I am proud of you, and I'm very pleased to learn that the Krauts have their very own chords.

Well, as a Kraut whose proud to have his own German National Chord, all I can say is "Zieg Hillel"!!



Chesh

PS - No invoking of Godwin's Law here. It was a joke!

[Nate]

Originally Posted by CheshireCat

Not bad, but I was referring more to this:

I'm still not sure what it is you're asking. You'd think with your incredible vocabulary, you'd be able to elaborate just a tad more.

Also, in the D/F# in the above example, where does the E come from?

I'm not sure if I actually played the E, I might have played an F# instead. I put the E in my little chart thingy because it breaks the parallel octaves that could occur between the doubled G and the F# that follows. The E is a fine note to use, because it's the ninth of the chord, and you can almost always add a ninth to any chord without substantially changing the sonority of the chord. I play ninths unconsciously, it just sort of happens.

In His love,
Nate

[CheshireCat]

Originally Posted by Nate

I'm not sure if I actually played the E, I might have played an F# instead. I put the E in my little chart thingy because it breaks the parallel octaves that could occur between the doubled G and the F# that follows. The E is a fine note to use, because it's the ninth of the chord, and you can almost always add a ninth to any chord without substantially changing the sonority of the chord. I play ninths unconsciously, it just sort of happens.

Unconscious Ninths? How very interesting.

I'm still not sure what it is you're asking. You'd think with your incredible vocabulary, you'd be able to elaborate just a tad more.

Specifically, you give this explanation of how certain intervals and degrees naturally lead from one chord to another and how in the case of the German Aug 6 they push very strongly towards the modulated tonic (or whatever), but you didn't diagram it. You did diagram the modulation from your example, but not the one you first referenced in your treatise and that I referenced, specfically the bit about . . .

a typical augmented sixth chord would include the notes Ab and F# moving outward to G and G (the 5th scale degree and the root of the dominant of the key). This contrary half-step motion to the 5th scale degree is EXTREMELY striking and is often used to set up a huge cadence or a modulation.

. . . which occured in the Key of C.

Could you give a more comprehensive explanation, with appropriate diagramming?

Chesh