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Analysis: D. Augmented Sixth Chords May Be Used As Modulatory Devices. See Part III, Unit 6

The document discusses modulation techniques using augmented sixth chords and other chromatic devices. It provides examples of: 1. Using fully diminished seventh chords to modulate to closely or distantly related keys by respelling the chords. 2. Modulating between keys using the German augmented sixth chord, which can function as a secondary dominant or be respelled as a dominant seventh chord. 3. Employing common-tone modulation where a single shared note between two keys acts as a pivot point for modulation.

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79 views

Analysis: D. Augmented Sixth Chords May Be Used As Modulatory Devices. See Part III, Unit 6

The document discusses modulation techniques using augmented sixth chords and other chromatic devices. It provides examples of: 1. Using fully diminished seventh chords to modulate to closely or distantly related keys by respelling the chords. 2. Modulating between keys using the German augmented sixth chord, which can function as a secondary dominant or be respelled as a dominant seventh chord. 3. Employing common-tone modulation where a single shared note between two keys acts as a pivot point for modulation.

Uploaded by

paco desantis
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We take content rights seriously. If you suspect this is your content, claim it here.
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D. Augmented sixth chords may be used as modulatory devices. See Part III, Unit 6.

Analysis
Analyze the examples in Units 22 to 24 of Music for Analysis. Be aware, as always, of such elements as motive,
line, rhythmic structure, texture, and formal processes. In addition, consider the following:

1. Does the harmonic vocabulary contain augmented sixth chords?

2. Which types are they?


3. Where are they placed in the phrase?

4. How are they related to the chords immediately preceding and following them?

Exercises
1. Spell the Italian, German, and French chords in the following keys, using signatures. For major keys,
include the En. Ger: G, B , F, A, g, f.

2. Analyze the given augmented sixth chords and resolve as indicated.

3. Analyze and resolve the following chords:

168 CHROMATIC MATERIALS


4. Harmonize the following melodies and realize the figured and unfigured basses, using augmented sixth
chords as indicated by asterisks. Work for strong outer voices and smooth voice leading. Analyze all work
fully.
a.

b.

c.

d.

e.

f.

g.

AUGMENTED SIXTH CHORDS 169


5. Complete the following progressions, employing variant uses of augmented sixth chords as indicated:

6. The following patterns may be used for composition or improvisation using various textures and instru-
ments as suggested by the instructor:

a. F minor:

b. F major:

7. Compose a theme and at least three variations for instruments available in class. The theme should be a
simple binary form, and the harmonic language should reflect that studied so far. Analyze completely.

170 CHROMATIC MATERIALS


6 Modulation by Other Means

The following are devices that may be used to modulate between both closely and distantly related keys.

I. Any fully diminished seventh chord can be heard as belonging to several different keys and may be respelled to
resolve in any of those keys; thus this chord is useful in modulation. The enharmonically respelled chords may
function as dominants, secondary dominants, or linear chords in either or both keys. Furthermore, any member
of a diminished seventh chord may be lowered a minor second to change that chord to a dominant seventh.

A. Modulation to closely related keys.

B. Modulation to distantly related keys.

171
II. The German augmented sixth chord (and Enharmonic German chord) sounds like a dominant seventh, so it
can be approached as one function and left as the other. A respelled German chord may become either V7 or
any secondary dominant seventh chord, or any dominant seventh chord may be respelled as a German chord.

A. Ger. 65 becomes V7.

B. V7 becomes Ger. 65.

III. In common-tone modulation, a single note common to two keys may be used as a pivot between those keys.
The common tone is most often a member of the tonic triad of one or both keys.

172 CHROMATIC MATERIALS

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