[MJ_Avalanche]

So, yeah we just got done doing these in Theory III and now I'm wondering... Are there any instances of modern music (aside from compositional, perhaps) that actually use these chords?

Also, would there be any practical uses for them besides color? (I mean, obviously I venture would say it's nearly impossible to build a complete harmonic progession revolving around +6th chords.) I'm also thinking that it wouldn't work to well to try and use them on guitar, since they're build in such a fashion that there's no real practical fingering for any of 'em.

But yes, modern examples, and applications are what I would like to know.

[Nate]

Originally Posted by MJ_Avalanche

So, yeah we just got done doing these in Theory III and now I'm wondering... Are there any instances of modern music (aside from compositional, perhaps) that actually use these chords?

I do not personally know of any songs that I have heard that use them, but that doesn't mean such songs don't exist or that people don't use them. I've used augmented sixth chords before in modulations.

Also, would there be any practical uses for them besides color?

I'm not sure that color is a good reason to use an augmented sixth chord. It's really not as if an augmented sixth chord is just a substitute for another type of chord (at least, not in most cases). It's a completely separate musical idea.

(I mean, obviously I venture would say it's nearly impossible to build a complete harmonic progession revolving around +6th chords.)

Obviously. The entire purpose of augmented sixth chords is to lead to a V chord. There really is no other purpose for them at all. They are entirely functional in nature. The whole point is that the interval of an augmented sixth, for which the chord is named, resolves outward by contrary half-step motion to an octave on the root of a V chord. That's it. If you grasp that, you understand about 90% of the theory behind augmented sixth chords.

I'm also thinking that it wouldn't work to well to try and use them on guitar, since they're build in such a fashion that there's no real practical fingering for any of 'em.

Au contraire!

You should note that the interval of an augmented sixth is enharmonically equivalent to that of a minor seventh. If you can finger minor seventh chords or dominant seventh chords, you should be able to finger augmented sixth chords as well. In fact, one form of the augmented sixth chord (the so-called German form) is actually enharmonically equivalent to a dominant seventh form of chord. C7 is also C+6, although you really wouldn't call it that because augmented sixth chords don't have a functional root. The best equation is C7 = Ger6 in the key of E.

But yes, modern examples, and applications are what I would like to know.

As I said, the whole point of an augmented sixth chord is to get you to a V chord. Seeing as V chords are the typical "turning point" / "pivot chord" in any good modulation, you can use an augmented sixth chord to modulate very effectively. The song that I use this type of modulation in is "Salvation Belongs To Our God". The progression for the chorus is G - D/F# - C/E - Em7/D - D, and we modulate up a whole-step and finish the song with the chorus in A, using A - E/G# - D/F# - F#m7/E - E. To perform this modulation, we use the progression G - D/F# - Ger6 in A (AKA F+6, or F7) - E, then start right on the chorus progression in A.

Hope that all made sense.

In His love,
Nate

[MJ_Avalanche]

Originally Posted by Nate

I do not personally know of any songs that I have heard that use them, but that doesn't mean such songs don't exist or that people don't use them. I've used augmented sixth chords before in modulations.

OK, I'll just have to do some looking and see if I hear anything.

I'm not sure that color is a good reason to use an augmented sixth chord. It's really not as if an augmented sixth chord is just a substitute for another type of chord (at least, not in most cases). It's a completely separate musical idea.

Well, I only said color because I noticed that in a lot of ragtime style examples we had it was almost as if the Fr6 chords that were used were almost like passing tones of sorts. Barely noticeable. But if you think about it, it really is a subsitute for ii, no?

Obviously. The entire purpose of augmented sixth chords is to lead to a V chord. There really is no other purpose for them at all. They are entirely functional in nature. The whole point is that the interval of an augmented sixth, for which the chord is named, resolves outward by contrary half-step motion to an octave on the root of a V chord. That's it. If you grasp that, you understand about 90% of the theory behind augmented sixth chords.

Yeah, I know how it works on paper (aka the theory), I'm just trying to understand how to make it work for my instrument.

Au contraire!

You should note that the interval of an augmented sixth is enharmonically equivalent to that of a minor seventh. If you can finger minor seventh chords or dominant seventh chords, you should be able to finger augmented sixth chords as well. In fact, one form of the augmented sixth chord (the so-called German form) is actually enharmonically equivalent to a dominant seventh form of chord. C7 is also C+6, although you really wouldn't call it that because augmented sixth chords don't have a functional root. The best equation is C7 = Ger6 in the key of E.

Haha, I never thought of the augmented 6th as enharmonic to a minor 7th (most everthing that's been done this semester has been taken at face value)... I did know that the Gr6 was enharmonic to the dominant 7th. (Just by hearing it you can tell.) What about, say, for a Fr6, wouldn't I have to come up with an alternate fingering for that due to the interval of the +4th in it?

As I said, the whole point of an augmented sixth chord is to get you to a V chord. Seeing as V chords are the typical "turning point" / "pivot chord" in any good modulation, you can use an augmented sixth chord to modulate very effectively. The song that I use this type of modulation in is "Salvation Belongs To Our God". The progression for the chorus is G - D/F# - C/E - Em7/D - D, and we modulate up a whole-step and finish the song with the chorus in A, using A - E/G# - D/F# - F#m7/E - E. To perform this modulation, we use the progression G - D/F# - Ger6 in A (AKA F+6, or F7) - E, then start right on the chorus progression in A.

So for instance, if I wanted to move from C to D I could do something like C-F-(moving to key of D)Gr6 (Bb+6)-D/A(because Gr6 chords have to resolve to a I in second inversion. Or at least in 4-part)-A-D, right?

Hope that all made sense.

In His love,
Nate

Always, man.