REFERENCES
Linked references are available on JSTOR for this article:
http://www.jstor.org/stable/745870?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
Oxford University Press, Society for Music Theory are collaborating with JSTOR to
digitize, preserve and extend access to Music Theory Spectrum
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement
Supplementtoto
the
the
Theory
Theory
of
of Augmented-Sixth
Augmented-Sixth Chords
Chords
Daniel Harrison
We
We could
could take
takeititasasa asign
signofofprogress
progressthatthat
little
little
remains
remains wider
wider range
rangeof
oftreatments-specifically,
treatments-specifically,those
those
apparent
apparent
in in
theoretically
theoreticallyuncertain
uncertainaboutaboutaugmented-sixth
augmented-sixth chords.
chords.Or Or
we we late
late nineteenth-
nineteenth-and
andearly
early
twentieth-century
twentieth-century
music.
music.
Fittingly,
Fittingly
could
could take
take it
it as
asaasign
signofofcomplacency.
complacency. AtAtoneone
timetime
unbroken
unbroken some of the theoretical methods are similar to those used at
by the
the theorist's
theorist'swhip,
whip,these
thesechords
chords areare
nownow docile
docile
fixtures
fixtures that time1-although, in some cases, it is the common interest
of back-of-the-book
back-of-the-bookchromatic
chromatic harmony,
harmony, content
content in their
in their
ped-
ped- in the analytic problems of the repertory and not shared ide-
igreed
igreed ethnicity
ethnicityand andready
readyfor for
anyanynovice
novice student's
student'sfour-part
four-part ology that is responsible. Another point of contact between
exercises.
exercises. The
Thepainstaking
painstaking(if(iffrequently
frequently pedantic)
pedantic)attentions
attentions this and earlier efforts is a sympathy for speculative and cre
given
given them
them by byearlier
earliergenerations
generations ofof
theorists
theorists nownow
seemseemmis-
mis- ative compositional issues-this in addition to the attentio
guided,
guided, or
or at
atleast
leastunnecessary;
unnecessary; fewfewtoday
todaytrouble
troublethemselves
themselves paid to the usual theoretical and analytical interests. Thi
with
with issues
issues ofofderivation,
derivation,root,root,inversion,
inversion, classification,
classification,andand article is interested, in other words, not only in the behaviors
the
the like.
like. Apparently,
Apparently,the theaugmented-sixth
augmented-sixth hashasbeen
beensuccess-
success- of those augmented-sixth chords found in the repertory, but
fully
fully domesticated.
domesticated. also in the possible behaviors available to that repertory
We
We ought
ought toto confess,
confess,however,
however, that
thatonly
onlythose
thoseaugmented-
augmented- Many were discovered and composed; some, at least to my
sixths
sixths exhibiting
exhibitingtypical
typicaleighteenth-
eighteenth- andand
early
early nineteenth-
nineteenth- knowledge, were not.
century
century behaviors
behaviorshave
havebeen
beentamed.
tamed. Many
Many later
later
nineteenth-
nineteenth- One result of this reconfiguration project is an apparent
century
century behaviors
behaviorsresist
resistthethenormalizing
normalizing discipline
discipline adminis-
adminis- lowering of the membership standards for augmented-sixth
tered
tered their
their earlier
earlierkin
kinand,
and,asasa result,
a result,
often
often endendup up
beingbeing chord status, giving the three ethnic purebreds an infusion
considered
considered unprincipled
unprincipledand andlicentious.
licentious.If If
treated
treated at all
at all
in ain a of new blood for their tight club. To be sure, this influx
modern
modern harmony
harmonytext,text,ititisiswith
with unease
uneaseandandlittle
little
sympathy.
sympathy. diminishes the theoretical pre-eminence of the ethnic chords
Is it
it true,
true, then,
then,that
thatwe
wecancanhandle
handlethese
thesequintessential
quintessential chro-
chro- as they can no longer pretend to sole proprietorship of the
matic
matic chords
chordsonly
onlyififthey
theyare areconfined
confined to to
common-practice
common-practice title "augmented-sixth chord." This is not to say that th
pastures?
pastures? ForForthose
thosethat
thatrunrunfree
freeinin
chromatic
chromatic habitats-such
habitats-such
as some discussed in this article-we seem unable to snare.
'In particular, my work here resembles both in spirit and in substance an
This supplement to the theory of augmented-sixths 1868
re- article by Wilhelm Tappert, "Die ibermassigen Sexten-Accorden,
configures standard teaching in order to accommodate a Allgemeine musikalische Zeitung 3 (1868): 259-62, 266-68, 275-77.
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 171
ethnic
ethnicchords
chords lose
lose
analytic
analytic
significance,
significance,
which which
they cannot
they cannot Example
Example1. Tonal behavior
1. Tonal of a) augmented-sixth
behavior interval;
of a)b
simply
simplyononaccount
accountof of
their
their
abundant
abundant
manifestations
manifestations
in the in the diminished-fifth
diminished-fifthinterval; c) diminished-seventh
interval;interval
c) dimi
tonal
tonalrepertory.
repertory.ButBut
the the
theoretical
theoretical
understanding
understanding
of of a.
augmented-sixth
augmented-sixth chords
chords
needs
needs
to beto
reconstituted
be reconstituted
if the new-
if the new-
comers
comersare
aretoto
be be
integrated
integrated
well well
with with
the charter
the charter
members.members.
Two benefits accrue from this reconstitution. The first is a
more flexible and generous analytic category than we have b.
PRELIMINARIES
momentarily
momentarily knowledge of knowledge
artful treatments (i.e.,of elided
artf
and
other
other manipulated
manipulated
resolutions), and letresolutions),
us also acknowledge
The basic mechanics of augmented-sixth chords are well
that
that what what
has been asserted
has aboutbeen the intervals
asserted in question
abo
known and are reprised in Example la. Let us ignore mo-
isis
likewise
likewise
true for the true
inversions
for of those
the intervals,
inversiowhich is
mentarily our knowledge of more complex matters in order
totosay say
that thethat
diminished
the third,
diminished
the augmented fourth, third
and
to focus afresh on elementary ones, one of which is the res-
the
the augmented
augmented
second also resolve second
in contrary also
motionres by
olution of the dissonant interval in contrary motion by Whenever
semitone. dia- I refer to one of these intervals in the
tonic semitone, which is to say that the pitch classes of the
following discussion, its inversion is also implicitly refer-
resolution have a different letter name and scale degree from
enced. For the sake of convenience, I have chosen the
those in the dissonance. This behavior is shared by only two
"prime" forms shown in Example 1 (instead of their inver-
other common dissonant harmonic intervals in tonal music:
sions) because they are met with in the root positions of their
the diminished fifth and the diminished seventh, whose me-
characteristic chords: the augmented-sixth interval in all three
chanics are shown in Examples lb and c.2 Again, let us ignore
ethnic varieties of the augmented-sixth chord, the diminished
fifth in the major-minor seventh chord, and the diminished
2Many intervals are able to fulfill this condition. For example, the doublyseventh in the diminished-seventh chord.3
augmented fourth, occasionally found in German-sixth chords when 3b is
respelled as 02 for resolution into a major-mode cadential 6chord, resolves
by diatonic semitone into a major sixth. One could go even further afield and invite such a study. For present purposes, however, I wish to treat only those
cite such curiosities as the augmented third (resolves into perfect fifth) and intervals that have some recognized role in tonal music, which the augmented
doubly augmented fifth (resolves into major seventh). A study of such interval third, for example, lacks.
behavior would, I think, be analytically helpful in twentieth-century musics 3Many theorists acknowledge problems in ascribing roots to both the
that rely on stepwise voice leading for some portion of their structural co- diminished-seventh chord and the augmented-sixth chords. For example, in
herence. The music of Hindemith, for example, or of Britten would seem to Allen Forte's Tonal Harmony in Concept and Practice (3rd ed. [New York:
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
172 Music Theory Spectrum
Considering these three intervals together is an interesting This point is crucial in understanding the attention many
and suggestive exercise on a number of counts. For one thing, nineteenth-century composers paid to augmented-sixth
it brings the augmented sixth out of the hinterlands of har- chords, since one of the principal growth areas in nineteenth-
mony pedagogy and lets it bask in the same theoretical pres- century harmony was in chords that possessed these powers.
tige enjoyed by the other two intervals, indubitably the fun- The diminished-seventh chord, for example, which contains
damental harmonic dissonances of tonal music. There are, of two diminished fifths and a diminished seventh, is a central
course, reasons why the augmented sixth does not generally sonority in this repertory. Similarly, the VX9, which grafts a
keep such distinguished company, reasons explored below. VII7 onto a S root, is also a characteristic nineteenth-century
But the fact that the augmented-sixth dissonance resolves in chord of considerable harmonic horsepower. About the pop-
the same way as do the other two intervals indicates that it ularity of the half-diminished seventh and the related V9 little
possesses at least some of their powers of tonal propulsion. needs to be said. With this kind of interest at work, chords
with augmented sixths naturally stood out as ripe for devel-
opment. Their raw tonal energies were identical to those
Holt, Rinehart and Winston, 1979], 171-75), any position of a diminished- having diminished fifths and sevenths; yet their potential had
seventh chord is analyzed as "?7" because of the enharmonic intervallic equal- been locked up by theorists who, observing the constraints
ity of all its inversions. This practice effectively denies the diminished-seventh upon augmented-sixth chords in eighteenth-century music,
a root position. I follow here the practice of others in considering VII7 in prescribed particular harmonizations, positions, and inver-
minor the root position of the diminished-seventh chord (e.g., Edward Al-
sions.4 Unlocking the augmented sixth thus unlocked a rel-
dwell and Carl Schachter, Harmony and Voice Leading, 2nd ed. [Orlando,
Fla.: Harcourt Brace Jovanovich, 1989], 368-75). The problems with
augmented-sixth chords are thornier in that most root-seeking routines yield 4The augmented-sixth chord has been the subject of considerable theo-
"unusual" root positions. For example, some analyze the root of both the retical regulation from the eighteenth century onwards. Rameau had par-
German and Italian sixths as #IV. Many theorists have submitted to such ticular troubles with it, being unable to explain its origin by any of his usual
uncomfortable circumstances. Perhaps the example best known to North- methods; it was hence both rootless and uninvertible. He was reproached in
American theorists is Robert W. Ottman's Advanced Harmony, 1st through this matter by D'Alembert, who, however, could provide little more theo-
3rd eds. (Englewood Cliffs, N.J.: Prentice-Hall, 1961, 1972, 1984). In the retical justification. See Jonathan W. Bernard, "The Principle and the El-
fourth edition (1992) Ottman switched to the now common ethnic abbrevi- ements: Rameau's Controversy with D'Alembert," Journal of Music Theory
ations, although traces of the older notation survive (e.g., p. 249). Others 24 (1980): 53. (See also note 30 in the present article). Among the better
have avoided dealing with the idea of root position (Leonard G. Ratner, known attempts to give roots to augmented-sixth chords are those by F. W.
Harmony: Structure and Style [New York: McGraw Hill, 1962]), have waved Marpurg, who once called them fantastische Accorde and who contructed
the reader off from the issue (Aldwell and Schachter, Harmony and Voice them from a diminished fifth split by a major and a diminished third
Leading, 493-95), or have claimed the chords are rootless (Kostka and Payne, (Historisch-Kritische Beytrage zur Aufnahme der Musik, vol. 5, part 2 [Ber-
Tonal Harmony, 383). Although later in this article I will disfranchise the lin, 1761]: 162, 167-68. A similar method was practiced by one of Marpurg's
augmented-sixth chords as traditional chords-thereby obviating the root antagonists, G. A. Sorge (see Joel Lester, Compositional Theory in the Eigh-
problem-I here subscribe provisionally to the notion that the most common teenth Century [Cambridge, Mass.: Harvard University Press, 1992], 195).
bass positions of the three ethnic augmented-sixth chords function as their One of the most enlightening views of theoretical problems with augmented-
root positions. Cf. Walter Piston, Harmony, 4th ed., revised and expanded sixth chords comes from an early nineteenth-century source: Gottfried
by Mark DeVoto (New York: W. W. Norton, 1978), Kostka and Payne, Tonal Weber's Versuch einer geordneten Theorie der Tonsetzkunst (Mainz: Schott,
Harmony, 383, and Roger Sessions, Harmonic Practice (New York: Harcourt 1817-21; 3rd ed. [1830-32] translated as The Theory of Musical Composition
Brace, 1951), 333-35. by James F. Warner, ed. John Bishop [London: Robert Cocks, 1851]). On pp.
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 173
atively
atively untapped
untappedsource
sourcefor
fornew
neweffects
effectsthat
that
relied
relied
upon
upon of
of the
theintervals
intervals
inin
question-what
question-whatSchenker
Schenker
calledcalled
their their
familiar
familiar manners
mannersofofdissonance
dissonanceresolution.
resolution.
Many
Many
of of
these
these "univalence"6-
"univalence"6-within
within
thethe
respective
respective
scalescale
structures.
structures.
This This
effects will be illustrated in this article. univalence
univalencegives
givesthem
them
a supremely
a supremely
strong
strong
position-finding
position-finding
Another, more speculative, attribute of these three in- role.7
role.7 In
Inother
otherwords,
words,because
because
eacheach
interval
interval
only only
occursoccurs
be- be-
tervals might be of interest to votaries of Moritz Hauptmann's tween
tweenaasingle
singlepair
pair
of of
scale
scale
degrees,
degrees,
sounding
sounding
the interval
the interval
theories; all three resolve to Hauptmann's fundamental tonal gives
gives away
awayits
itslocation
location
within
within
the the
given
given
key. key.
Univalence
Univalence
and and
spaces: the diminished fifth to the (major) Third, the dimin- the
the resulting
resultingposition-finding
position-finding
abilities
abilities
are perhaps
are perhaps
the primary
the primary
ished seventh to the (perfect) Fifth, and the augmented sixth reasons
reasonswhy
whythethe
diminished
diminished
fifth
fifth
and and
diminished
diminished
seventh
seventh
rank rank
to the Octave.5 Thus, it might be said that the three dissonant as fundamental dissonances.
intervals deserve their fundamental status by circumscribing, The augmented sixth, on the other hand, is not a creatur
outlining, or otherwise indicating the basic Hauptmannian of a standard scale system; it cannot be found between any
consonant spaces. This point can be developed further while, scale degrees. It is thus "nonvalent," if you will, and withou
at the same time, the augmented sixth can be peeled off from any inherent position-finding powers. This is the reason why
the group so that its distinctive properties can emerge. Schenker, among others, cannot discuss the augmented sixt
It is well known that both the diminished fifth and the in the same breath as he does the diminished fifth and di-
diminished seventh circumscribe not mere generic thirds and minished seventh; he delays discussion of it until the har-
fifths but thirds and fifths between specific scale degrees monic implications of the standard scale systems have been
within standard tonal systems. That is, the third defined by explored.8 Because of its nonvalence, the augmented sixth
the diminished fifth in major spans 1 and 5, and the fifth has rather different position-finding attributes than its two
defined by the diminished seventh in harmonic minor peers, which are explored in the following discussion.
spans i and S. This specificity results from the uniqueness
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
174 Music Theory Spectrum
The
Themost
mostcongenial
congenial
spots to
spots
locateto
an locate
augmented
an sixth
augmented
in Figure
sixth in1. Augmented sixths generated from one sem
aa standard
standardscalescale
systemsystem
appear to
appear
be at the
to semitones.
be at the That in aThat
semitones. tonal system
is,
is,the
the
interval
intervalcan be
canforce-fit
be force-fit
with minimum
witheffort
minimumonto a effort onto a
scale
scalesystem
system
by anchoring
by anchoring
one of its
one
semitones a semitone to aAugmented
of itstosemitones semitone sixths from major-mode semitones
in
inthe
the
system.
system.
Figure
Figure
1 illustrates.
1 illustrates.
In the left In
column
the are
left
thecolumn are the
two
twodiatonic
diatonicsemitones
semitones
of each of
mode,
eachpresented
mode,inpresented
scale- in Descending
scale- semitone semitone
Descending Augmented
Augmentedsixth
sixthabove
above
degree
degree format
format
and broken
and broken
down bydown
direction.
byEvery semitoneEvery semitoneA -
direction. #6-b
is
is matched
matched by another
by another
in the same
in the
rowsame
an augmented augmented sixth 4-3
row ansixth
away.
away. Accidentals
Accidentals
attached
attached
to a scaleto
degree
a scale
showdegree
if it is show if it is
raised
raised ($)($)
or lowered
or lowered
(b) a half
(b)step
a half
compared
step to
compared
the standard Ascending semitone
to the standard Augmented sixth below
form.9
form.9 9-8 b2-1
This
Thisscheme
scheme
givesgives
each mode
eachfour
modeaugmented
four augmented
sixths- sixths- b-4
surely
surely an an
overabundant
overabundant
supply. supply.
What is more,
What theispossibil-
more, the possibil-
ities
itiesfor
for
chords
chords
containing
containing
augmented
augmented
sixths are even
sixths
greater Augmented
are even greatersixths from minor-mode semitones
than
thanwhatwhat Figure
Figure
1 suggests.
1 suggests.
Because the Because
intervalthe
of reso-
interval of reso-
lution
lution (the
(theoctave)
octave)
is "omnivalent"
is "omnivalent"
in all scale in
systems,
all scale Descending
Descending
the systems, thesemitone
semitone Augmented sixth above
scale
scaledegree
degree uponupon
whichwhich
an augmented
an augmented
sixth resolves
sixth
can beresolves can be 6-S ? 4-S
supported
supported in ain
variety
a variety
of harmonic
of harmonic
formations.formations.
Put another Put another 3-2 01-2
way,
way,the thescale
scale
degreedegree
of resolution
of resolution
could be in could
most cases
be in most cases
either
either thethe
root,
root,
third,third,
or fifthor offifth
a chordof that
a contains
chord thatthat contains thatsemitone
Ascending Augmented sixth below
scale
scaledegree.10
degree.10 This This
situation
situation
is in marked
is incontrast
marked contrast to, say, S-6
to, say,
that with the diminished seventh, where the interval of 2-3 bb4-5
-
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 175
Example
Example2.2.Resolutions
Resolutionsforfor
twotwo
sample
sample
augmented
augmented
sixths sixths Example 4. Au
a.
J/ t_ -- II _- - , S I-
w -0-
4 3 III11 I VI
root third fifth
9:". l
I " -- -----I V
b.
v.f>/
0 11 |j D
~~~ -I_IIg
a I I "Aug. 6th" V3 I
8 7 VII V IIIIII
root third fifth
? ?
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
176 Music Theory Spectrum
difficult
difficulttotopush
push thethe
resolution
resolution
of aof
4-3a augmented
4-3 augmented
sixth upon
sixth upon Figure 2. Minor system (above) "stretched" towards its domi-
the
the fifth
fifthofofa aVIVI
chord
chord(shown
(shownin Example
in Example
2a) and
2a)have
and the
have the nant side (below)
chord
chord really
reallysound
sound like
like
a VI;
a VI;
it would
it would
much much
rather
rather
be heard
be heard
as a local tonic. The same is true for the III chord in the same I I
F ab C et G b D
example. Indeed, informal experiments with the various res- I I I I
olutions suggested by Figure 1 indicate that all tend towards
having the chord of resolution be either a locally dominant-
or a locally tonic-functioned entity.14 Why? ab CIebI
G b D f#
I I I
Moritz
Moritz Hauptmann's
Hauptmann'sharmonic
harmonic theories
theoriesagain
againprove
prove
use-use
The
Theprevious
previous discussion
discussion
is predicated
is predicated
upon the fact
upon that
thethe
ful,fact
ful, thisthat
this time
timeto the
toexplain
explainthe the
relationship
relationshipof of
some
somenon-diatonic
non-diat
augmented
augmented sixth
sixth
is not
isannot
interval
an interval
found in afound
standardinscale
a scale
standard
scale degrees
degreesto scale
tostandard
standardscalescale
formations.
formations. Hauptmann
Hauptmann con-co
system,
system, andandthat,
that,
if force-fit
if force-fit
into suchinto
a system,
such onea system,
of ceived
its
ceived keyone of
key structureitsasasa aseries
structure series
ofof
perfect
perfectfifths
fifths
between
between
which
wh
semitones
semitones willwill
involve
involve
a chromatically
a chromatically
altered scale
altered
degree.were
scale
were degree.major
embedded
embedded majorand andminor
minor thirds.
thirds.TheThe
upper
upper
rowrowof
Figure
Figure 1 illustrates
1 illustratesthis situation
this situation
perfectly.
perfectly.
We can, however,
WeFigure
can,22however,
Figure illustrates
illustratesthis
thisstructure
structure using
usingthethe
keykey
of of
C minor
C minor
as
treat
treatthe
the
altered
altered
scale scale
degrees
degrees
with more
with
sensitivity
more sensitivity
if an
weexample.15
an ifPerfect
example.15 we
Perfectfifths
fifthsare
are
located
located
between
between
adjacent
adjac
loosen
loosen the
the
strict
strict
constraints.
constraints.
For it isFor
clearit
that,
is clear
while that,
none while none
upper-case
upper-case letters,
letters,and
andthirds
thirds between
between any any
pair
pair
of of
adjacent
adjacen
of
ofthese
thesesemitones
semitonesis native
is native
to the major
to the or minor
majorscaleor minor
inupper- scale
upper- and in
and lower-case
lower-case letters.
letters.InIntheory,
theory, thethe
fifth-and-third
fifth-and-th
question,
question, some
some
are more
are more
frequent
frequent
and honoredandguests
honoredin the guests incan
relationships
relationships the
can be
beextended
extended infinitely
infinitelyin in
both
both
directions,
direction
diatonic
diatonic household
householdthan than
others.others.
In particular,
In particular,
#4-S is an es- #4-S
thereby is an es-
thereby encompassing
encompassingallallpossible
possible keys;
keys;
whatwhatFigure
Figure
2 shows
2 sho
pecially
pecially important
importantand popular
and popular
chromatic chromatic
caller, as it caller,
creates as it creates
is aa segment
segment from
fromthat
thatline
linedelimiting
delimiting one one
particular
particular
key.key
tonicizations
tonicizations of and
of modulations
and modulationsto the dominant
to the key.
dominant
b 2-Because
Because key. b 2- nominally
Hauptmann
Hauptmann nominally employed
employed just
just
intonation
intonationto t
ii is
isanother
another friendly
friendly
visitor,
visitor,
responsible
responsible
for Neapolitan
foref- Neapolitan
derive
derive scale ef-
scale members,
members, his
hiskey
key structures
structures have
have
remarkable
remark
fects.
fects. Some
Someof the
of others
the others
are encountered
are encountered
far less frequently
far less
"wigglefrequently
"wiggle room"-the
room"-theability
abilitytoto bebeshifted
shifted oneone
position
position
along
al
than
thanthese.
these.Indeed,
Indeed,
b7 in b7
minor
in minor
(e.g., Gb (e.g.,
in A minor)
Gb inisthe
Asoinfinite
minor) is so
fifth-and-third line without loss of the structural
rare
rareasas
to to
be be
mere mere
theoretical
theoretical
fiction. fiction.
All this is All
by way
thisof is by way
integrity of theof
key. The bottom row of Figure 2 shows such
saying
saying that
that
while
while
the augmented
the augmented
sixth may sixth
not fitmay
easily
not
intofit easily into having moved one position to the right
a shift, the structure
the
thediatonic
diatonicscale
scale
system
system
of a key,
of ita finds
key,moreit finds
comfortable
more comfortable
(towards the dominant side). The minor third between F and
accommodation in some locations than it does in others.
ab is lost while a major third between D and f# (H4) is gained.
It is in this "stretched" C-minor key system that Hauptmann
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 177
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
178 Music Theory Spectrum
lib b ? 8 |; ? l ; f |l;r 1i jf r I
0:b~b C I 0 f rlf jF7~j
,a|
-69: |1 0'k c I> x\ I 11 4EI V V V
b.
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 179
194
AJ 4 _ 4 4 .
v I I I I I _ _
^200 de
A9 A rt r I i o
Aug. 6 (dim. 3)
Aug. 6 (dim. 3)
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
180 Music Theory Spectrum
Example
Example7. 7.
Analytic
Analytic
possibilities
possibilities
for German
for German
augmented-sixth
augmented-sixth rules
rulesabout
about
assigning
assigning
harmonic harmonic
meaning to chords
meaning
skewed to chords skew
chord
chordaccording
according
to Gottfried
to Gottfried
WeberWeber
(from The
(from
Theory
TheofTheory
Musical of Musical interpretations-perhaps
interpretations-perhaps unintentionally-towards
unintentionally-towards
the ?II7 the ?I
Composition,
Composition, ? 202)
? 202) analysis.
analysis. Briefly
Briefly
put, in put,
a typical
inmodulatory
a typical situation
modulatory
in- situation in-
volving
volving rootroot
motionmotion
by ascending
by fifth
ascending
(tonic to fifth
dominant,
(tonic
for to dominant, f
example)
example) or root
or motion
root motion
between relative
betweenkeys, arelative
?II7 of some
keys, a ?II7 of som
key
keyX X would
would
generally
generally
be more closely
be morerelatedclosely
to the original
related to the origin
key
keythan
than
a V7 aofV7
someofkey
some
a fifthkey
higher
a fifth
than X. higher
In concretethan X. In concre
B7
B7
terms,
terms, consider
consider
ExampleExample
7 and notice7 that
andthe notice
tonic ofthat
the the tonic of the
E: V7
?II7
?II7analysis
analysis
(A minor)
(A minor)
is a fifth is
lower
a fifth
than thatlower
of the than
V7 that of the V7
e: V7
analysis
analysis (E minor).
(E minor).
Say now Say
that this
now chord
thatis encountered
this chord is encounter
b67
in
ina aC-major
C-majorcontext.
context.
Weber would
Weber
invariably
wouldidentify
invariably
it as identify it a
a: ?O17
aa ?II
?IIin in
A minor
A minor
because because
that key isthat
more closely
key is related
more to closely related to
CCthan
than is Eis
minor
E minor
in Weber's
in structural
Weber'stopography.26
structural Con-
topography.26 Con
seventh functioning as II7 in A minor (?b7). Here again, the ditions
ditions under
under
which which
Weber would
Weber
analyze
would
an augmented-
analyze an augmente
root is omitted and a ninth added; the alteration in this case sixth
sixth chord
chord
as V7 as
are V7
rare,are
in that
rare,
theyin
involve
thatdirect
they involve direc
involves raising the chordal third from D to D t, thereby descending-fifth
descending-fifth modulatory
modulatory
motion within
motion
the tonalwithin
space the tonal spac
creating an augmented sixth between l, (F) and 04 (DO). This (tonic
(tonicto subdominant,
to subdominant,for example),
fora comparatively
example), aun- comparatively un
is the subdominant-functioned augmented-sixth chord.24 usual
usualprocedure.
procedure.
Hence, because
Hence, of because
both modulatory
of bothhabitsmodulatory hab
Despite being given theoretical substance alongside in
incomposition
composition and related
and concepts
related of concepts
tonal topography
of tonal
in topography in
subdominant-functioned augmented-sixth chords, dominant- theory,
theory, the the
subdominant-functioned
subdominant-functionedaugmented-sixthaugmented-sixth
chord chor
functioned augmented-sixths are extremely rare in Weber's prevailed
prevailed analytically
analytically
over the dominant-functioned
over the dominant-functioned
one in one in
analytic work. He was not, however, prejudicially averse to Weber's
Weber's theory.
theory.
This unequal
Thisanalytic
unequal relationship
analyticbetween
relationship between
them.25 Rather, his elaborate but extraordinarily sensitive the
thetwotwotheoretical
theoretical
equals effectively
equals effectively
made the V7 analysis
made the V7 analysis
non-normative and unusual.
24The functional designation is my own. Weber's derivation of the Looking at this issue from a different perspective, it is
augmented-sixth chord from ?II7 was widely adopted. See, for example, Simon remarkable, given the aforementioned modulatory habits o
Sechter, Die Grundsdtze der musikalischen Komposition, 3 vols. (Leipzig: eighteenth-century composition, that a dominant-functione
Breitkopf and Hartel, 1853-54), first volume ed. and trans. Carl Christian
augmented-sixth chord would even be considered as a th
Miller as The Correct Order of Fundamental Harmonies (New York: W. A.
Pond, 1871), 148-51; Arnold Schoenberg, Theory of Harmony, trans. Roy oretical entity given its analytic rarity.27 And since Weber
E. Carter (Berkeley: University of California Press, 1978), 246.
25I have found two examples: Weber's Figure 1911 (p. 356 in the Warner- 26Weber discusses this issue, using these very keys as examples, on p
Bishop edition), an abstract part-writing specimen; and Weber's Figure 234 343-44. Weber's topography is alluded to in Fred Lerdahl's "Tonal Pit
(pp. 404-9, annotated on pp. 383-87), an analysis of an accompanied vocal Space," Music Perception 5 (1988): 315-49. See especially Figure 17a on
quartet of his own composition ("Polimeter"). Weber spells out his reasoning 332, which reproduces a mirror-image of Weber's space. Cf. Saslaw, "G
for choosing the dominant-functioned interpretation in "Polimeter" on p. 384. tfried Weber and Multiple Meaning," 92.
Saslaw ("Gottfried Weber and Multiple Meaning") discusses the "Polimeter" 270ne explanation might be that many early theoretical explanations
passage extensively on pp. 89-91. augmented-sixth chords connected them to the VII diminished triad, wh
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 181
provided
providedno nojustification
justificationas to
aswhy
to why
such such
a thinga thing
could exist,
could exist, involve
involve augmented-sixths
augmented-sixths
harmonized
harmonized
in the "German"
in thefash-
"German" fash-
it
it is
is impossible
impossible to to
determine
determine his motivation
his motivation
in thisinmatter.
this matter. ion.
ion.The
The"French"
"French"
harmonization
harmonization
found infound
the quintet
in the
can quintet can
Nevertheless,
Nevertheless, it it
seems
seems
no no
coincidence
coincidence
that prominent
that prominent
exam- exam- lead
leadone
oneaway
away
(as it(as
diditPiston)
did Piston)
from considering
from considering
the chord the chord
ples
ples ofofdominant-functioned
dominant-functioned augmented-sixth
augmented-sixthchordschords
begin tobegin to aa species
speciesof of
augmented
augmented
sixth and
sixth
towards
and atowards
V, 7 interpretation
a V, 7 interpretation
appear
appeararound
around thethe
time
time
of Weber's
of Weber's
treatise.
treatise.
Schubert's
Schubert's
works, works, in
in which
whichthethe
chord
chord
is in 3isposition.
in 3 position.
Although Although
this analysisthis analysis
for
for instance,
instance,abound
abound
with
with
them.
them.
Well-known
Well-known
examples
examples
are are clearly
clearlypoints
points
to the
to dominant
the dominant
origin oforigin
the chord,
of the
it does
chord,
not it does not
the
the concluding
concludinggestures
gestures
of the
of the
String
String
Quintet,
Quintet,
D. 956/IV,
D. 956/IV,
the the do
dososoinin
order
order
to connect
to connect
it to other
it toaugmented-sixth
other augmented-sixth
chords; chords;
A-major Piano Sonata, D. 959/I, and "Der Atlas" from rather,
rather, it it
stresses
stresses
its seventh-chord
its seventh-chord
structure.structure.
The augmented
The augmented
Schwanengesang, D. 957, no. 8.28 Within the body of a move- sixth
sixthcreated
createdbetween
between
the major
the third
majorandthird
diminished
and diminished
fifth fifth
ment, mm. 722-34 of the C-major Symphony, D. 944/IV, of
ofthe
thechord
chord
is anisaccidental,
an accidental,
not a primary
not a quality
primaryof the
quality of the
provides another fine illustration. All but the quintet example chord.
chord.This
This
point
point
leads leads
us naturally
us naturally
to consider
towhat
consider
kind ofwhat kind of
structures
structures cancan
be labeled
be labeled
augmented-sixth
augmented-sixth
chords. chords.
in turn was connected to the V triad. See, for instance, Marpurg, Historisch-
Kritische Beytrdge, 162. Besides Weber, Louis and Thuille also recognize a TYPES OF AUGMENTED-SIXTH CHORDS
dominant-functioned augmented-sixth chord; see Richard Isadore Schwartz,
"An Annotated English Translation of Harmonielehre of Rudolf Louis and
Ludwig Tuille" (Ph.D. diss., Washington University, 1982), 286-91. So does Considering the enormous influence Central
H. K. Andrews in The Oxford Harmony (London: Oxford University Press, musicians have had on the development of mo
1950), vol. 2, 57-62, who follows Alfred Day in this matter (A Treatise on theory in North America, it is surprising to note
Harmony [London: Cramer, Beale, and Co.: 1845], 121-27). One of the
tinuing presence in our discourse of an English
earliest satisfactory explanations of the augmented-sixth chord, that by
Johann Philipp Kirnberger, also awarded it dominant function ("The True quirk: the naming of three augmented-sixth c
Principles for the Practice of Harmony," trans. David W. Beach and Jiirgen the "Italian," "French," and "German" ethnic labels. John
Thym, Journal of Music Theory 23 [1979]: 186-88. Louis and Thuille assert Wall Calcott, in A Musical Grammar (London, 1806), seems
that the possibility of both dominant- and subdominant-functioned to have been the first to coin these terms, and for the reasons
augmented-sixth chords is responsible for the idea that an augmented-sixth
chord has two roots. One could see how Weber's derivation of the chord from
which many have long suspected-namely, ethnic stereo-
two different sources could lead to this idea, save that Weber viewed these typing.
two sources as potentials, one of which was eliminated in the act of analysis.
The Music of France, Italy, and Germany, cannot be illustrated in
By contrast, double-root theories seem to imply that the sources are actuals,
a smaller compass than by the use of these three Chords. The fee-
as if they were fundamental basses. Schenker discusses the augmented-sixth
chord, for example, as a fusion of elements from ?II7 and V7 where the V7
bleness of the French sixth, compared with the elegance of the Ital-
is from a key a fifth higher than the ?II7, as in Weber's formulation (Harmony, ian, and the strength of the German, leaves no doubt of their su-
277-78). Alfred Day also held to a double-root theory involving fusion (A perior excellence. The admirable genius of Graun knew when to
Treatise, 122). Weber, by contrast, viewed the augmented-sixth chord as de- employ Italian sweetness, and when to change it to German force.29
rived in its entirety from either of the two sources, not as a fusion of both.
28The quintet example is cited in Piston, Harmony, 426, and Andrews,
Oxford Harmony, vol. 2, 61. Aldwell and Schachter, Harmony and Voice 29Callcott, Musical Grammar, 1st American ed. (Boston: Manning & Lor-
Leading, 496, and Lester, Harmony in Tonal Music, vol. 2, 94, cite the ing, 1810), 239n. Calcott alludes to another reason why the French sixth is
A-major sonata. so named; he claims that because it "is only found in the theory of Rameau,
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
182 Music Theory Spectrum
Along
Along with
withthe
theethnic
ethnicnames,
names,
current
current
practice
practice
has has
taken
taken Example
Example
8. Louis and Thuille's augmented-sixth chord
8. types L
the
the English
Englishpredilection
predilection
for
for
recognizing
recognizing
these
these
as the
as the
onlyonly
a. b. c. d. e. f.
types
types of
of augmented-sixth
augmented-sixth chords.
chords.
Continental
Continental
practice
practice
is is
more flexible in this matter. While the "big three"
augmented-sixth chords are invariably discussed (usually Y IIs I 14 I I I t I i is I1
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 183
Tenor So lo J J i F I r , r
Ky- ri- e e- le- i- son
i",
~C,k'* -t ?e~~~~~~~~~~~~~~
J~~~~~~
n_J'*jn
BU,: ^^ j ~ i F 7
sixth.
sixth. ButBut
version
version
f has intervallic
f hasproperties
intervallic that connect it Thuille that
properties mentionconnect
the Tristan chord
it in connection with version
strongly
strongly to thetoGerman
the German
sixth. Examplesixth.
10 demonstrates
Example 10 demonstrates this this interpretation-partly be-
this f, they nonetheless wave off
close
closerelationship,
relationship,
showing that
showing
version fthat
is an inversion
version of f cause
is an of the habit typical
inversion ofof the time to hear the A as struc-
aaGerman
German sixth sixth
in termsinof terms
its internal
of intervallic
its internal
adjacencies. tural and theadjacencies.
intervallic GI$ as passing, but also because they find that
No
Noother
othernamename
suggesting
suggesting
itself easily, Iitself
dub versioneasily, version
f the I dub f, by virtue
version f of
theits two common tones with the dom-
"dual"
"dual" German-sixth
German-sixthchord in recognition
chord in of recognition
its inversional inant
of its(B and GO), is more easily heard as a dominant sonority
inversional
intervallic
intervallic relationship
relationship
to the German to sixth.
the German sixth. with two auxiliary tones surrounding the root (F and DO).33
In
Incontrast
contrast
to version
to version
c, the dual c,
German-sixth
the dual chord does They thus chord
German-sixth want to hear
does version f more as an enhanced dom-
have
have compositional
compositional existence-inexistence-in
one of the mostone famousof inant
thethan most famous
as an augmented sixth; since they hear the Tristan
passages
passages in nineteenth-century
in nineteenth-century music, in fact (see music,
Examplein chord
fact as subdominant-functioned,
(see Example they cannot rationalize an
11).
11). The
The
"Tristan"
"Tristan"
chord, marked
chord,withmarked
the asteriskwith explanation
in the the that involves
asterisk in the the G$ as the chordal tone.
example,
example, is identical
is identical
to the chord toshown
the in
chord
Example lOb, the in It
shown is true that alOb,
Example textbook
theresolution of the Tristan chord
prototype
prototype of theofdual
the
German-sixth.32
dual German-sixth.32
Although Louis and Althoughwould involve maintaining
Louis and the common tones Gl and B, and
that such a resolution would support Louis and Thuille's con
32Nota
32NotaBene:
Bene:
HavingHaving
now a theoretically
now a viable
theoretically
rationale for understand-
tention that the chord is an enhanced dominant. But Wagner
viable rationale for understand-
ing
ingthe
theactual
actual
spellingspelling
of the Tristan
of chord,
the Tristan
we need no chord,
longer enharmonically
we need no solution
longeris pointedly to disobey the
enharmonically "Law of the Shorte
convert the chord into an F half-diminished seventh chord and then wonder Way" in order to enhance the tension and release from the
at its "irregular" resolution. Such enharmonic conversions have been neces-
sitated by the domination of the ethnic-sixth chords and the concomitant
exclusion of other chord types. Yet, at the heart of the matter, it is as improper 33The presence of two tones in common with the chord of resolution
to call the Tristan chord a half-diminished seventh chord as it is to call a the same reason it is difficult to hear the augmented-sixth chord leading t
German sixth a dominant-seventh chord; its spelling indicates its functional the cadential 6 in the Verdi excerpt (Example 9) as a freestanding harmo
meaning in the same way that the German-sixth spelling does. structure.
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
184 Music Theory Spectrum
*
PROPOSAL
Tristan chord to the V7. That is, the voice exchange here-the
Under the heading of "augmented-sixth chord" o
infamous perpetrator of improper resolution-ensures appear the
any chord that depends upon the augmented
chord's functional independence by avoiding common-tone
diminished-third) interval for all or most of its tona
connections.34 Thus, intuitions that the Tristan chord is an the interval appears within a governing k
Where
material, although we can propose that Figure 1 de
constraining
34An exhaustive summary of Tristan-chord lore is found in Martin Vogel, limits. In this way, not only are the "b
enfranchised but also those beautiful examples f
Der Tristan-Akkord und die Krise der modernen Harmonielehre (Disseldorf:
Gesellschaft zur Forderung der systematischen Musikwissenschaft,shown in
1962). Vo- Examples 5 and 6, as well as the intere
gel documents all manner of analytic approaches except one that recognizes
specimens displayed in Examples 3 and 4. The in
the Tristan chord as the dual of the German-sixth chord. A dual relationship
constitution of augmented-sixth chords need not be
to the enharmonically equivalent dominant-seventh is recognized (107-10),
or prescribed
which association was revived by Benjamin Boretz in "Metavariations: Part since it is the augmented-sixth inter
IV, Analytic Fallout," Perspectives of New Music 11 (Fall-Winter, 1972): 162.
But this necessitates an enharmonic reinterpretation of the Tristan chord as
with the
a half-diminished seventh, something that Wagner's notation pointedly dis-Tristan chord. But then, impishly, he purposely gets bo
courages; see note 32 above. Schoenberg, in Theory of Harmony in(255-57),
issues of root and derivation, an excuse to demonstrate his fon
also recognizes the dual German sixth, and even mentions it in "vagrant chords," which are to him "most amusing fellows."
connection
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 185
Example
Example12.
12.Richard
RichardStrauss,
Strauss,
Till Till
Eulenspiegel,
Eulenspiegel,
mm. 46-49
mm. 46-49 become
becomequite recognizable
quite and salient.
recognizable
Consider, for in- and
stance,
stance,the role augmented-sixth
the role chords
augmented-sixth
play in a short se-
lustig
quence
quencefrom Franck's
from Piece heroique
Franck's
shown in Example
Piece
13. her
The
Thechordschords
in question are marked
in question
with an asterisk inare
the mar
score
scoreat a; they
at are re-spelled
a; they at b both
are
to highlight
re-spelled
(by open at
noteheads)
noteheads) the propulsive the
augmented-sixth
propulsive
interval betweenaugme
b2
b2and #1and of the #1
local keys
of and the
the dual-German
local intervallic
keys and
structure.
structure. Finally, by keeping
Finally,
an ear on thebyaugmented-sixth
keeping an
* interval,
interval,we are able better
wetoare understand
able some of
better
the tonal to un
forces
forces in the opening
in of theSchoenberg's
opening
Chamber Symphony,
of Schoenb
op.
op.9, cited
9, in Example
cited 14a. in
The analysis
Exampleat b points out
14a.
that The
gives
gives the
the chord
chordits
itspowers;
powers;the
the
remaining
remainingnotes
notes
accompany
accompany
two
two augmented-sixth
augmented-sixth
intervals propel the chord inintervals
m. 3 into p
the
the generating
generatinginterval
intervaland
andprovide
provide
it it
with
with
different
different
sonorous
sonorous
its
itsresolution
resolution
in m. 4; one is shown
in withm. open 4;
noteheads,
one is s
shadings.
shadings. In
Inthis
thisway
waythe
thedual
dualGerman
Germansixth
sixth
is welcomed,
is welcomed,
and
and the other
the with other
filled. Surely, with
this is just as
filled.
much an Sur
along
along with
with any
anyother
otherconfiguration
configuration that
that a composer
a composermight
might
be be
augmented-sixth
augmented-sixthchord as any other thatchord
has been discussed
as any ot
tempted
tempted toto use.
use.At
Atthis
thispoint,
point,wewehave
haveenough
enoughto be
to able
be able
to to
so far.
cut
cut away
away the
thepuzzlement
puzzlementsurrounding
surrounding thethechord
chord
marked
markedby by
the
the asterisk
asteriskin inExample
Example1212and
andanalyze
analyzeit it
as as
an an
augmented-
augmented- * * *
sixth
sixth chord,
chord,with
withthe
theinterval
intervalinin
question
question
built
built
at the
at the
4-3 4-3
semitone
semitone ininFFmajor
majorand
andaccompanied
accompanied byby
notes
notes
thatthat
givegive
the the
chord
chord aa dual
dualGerman
Germanflavor.35
flavor.35Indeed,
Indeed,
under
under
thisthis
regime
regime
all all The expository speed of the las
manner
manner of of previously
previouslyunassuming
unassuming augmented-sixth
augmented-sixth behaviors
behaviors sufficient to have raised some d
like so many billboards on the
35Kostka
35Kostka and
andPayne
Payne(Tonal
(TonalHarmony,
Harmony, 385)
385)
alsoalso
identify
identify
the the
"Till"
"Till"
chord
chord
constitution so far is perhaps no
as aa type
type of
ofaugmented-sixth
augmented-sixthchord. chord.Graham
Graham H. H.
Phipps,
Phipps,
in "The
in "The
Tritone
Tritone
as as enfranchised augmented-sixth ch
Equivalency:
Equivalency:AAContextual
ContextualPerspective
Perspective forfor
Approaching
Approaching Schoenberg's
Schoenberg's Mu- Mu- variously unusual tonal function
sic,"
sic," Journal
JournalofofMusicology
Musicology4,4,(1985):
(1985):
60,60,
alsoalso
cites
cites
thethe
"Till"
"Till"
chord
chord
as anas an wild herd can be done gently;
augmented-sixth,
augmented-sixth,but buthehecalls
callsthe
the
resolution
resolution
to to
thetheF-major
F-major
chordchord
"deceptive"
"deceptive" in light of previous discussions o
and
and also
also ignores
ignoresthe
theTill
Tillchord's
chord'sspelling
spelling
when
when
describing
describing
it asita as
half-
a half-
segregation by functional attrib
diminished
diminished seventh
seventhchord.
chord.Although
Althoughnotnot
strictly
strictly
a dual
a dual
German
Germansixthsixth
(D, (D,
would
would have
have to
tobe
bea aC#
C#ininorder
order
for
for
thethe
chord
chordto have
to have
the the
requisite
requisite
interval
interval Figure 4 presents three functio
structure),
structure), the
theTill
Tillchord
chordcan
canstill
still
bebe
understood
understood
as the
as the
dualdual
of aof
German
a German
sixthsixth sixth chords. As the figure deno
with
with doubly
doublyaugmented
augmentedfourth.
fourth.SeeSee
Aldwell
Aldwell
andand
Schachter,
Schachter,
Harmony
Harmony
and and from judgments concerning the h
Voice
Voice Leading,
Leading,482-83.
482-83.The
Thesimilarity
similarity
of of
thethe
TillTill
chord
chord
andand
the the
Tristan
Tristan
chord
chord
augmented-sixth chord and of its
has
has been
been noted
notedby
byWilliam
WilliamAustin,
Austin,Music
Musicin in
thethe
Twentieth
Twentieth
Century
Century
(New(New
York:York:
W. W.
W. Norton,
Norton,1966),
1966),140.
140.Robert
RobertGauldin
Gauldin
reinforces
reinforces
thisthis
connection
connection
and as
and as
speaking, it is not the function
well
well makes
makes aagood
goodcase
casefor
forconsidering
considering
TillTill
as aaswhole
a whole
to be
to abe
satire
a satire
on Tristan
on Tristan per se that is of ultimate interes
("A
("A Concealed
ConcealedMusical
MusicalSatire:
Satire:A APossible
Possible
Till-Tristan
Till-Tristan
Connection,"
Connection,"
unpub-
unpub- In all the examples cited in this
lished MS). chord sets up either a tonic- or a
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
186
186 Music
MusicTheory
TheorySpectrum
Spectrum
Example
Example13.
13.Franck,
Franck,
Piece
Piece
heroque,
heroque,
mm. 14-18
mm. 14-18
a.
14
3 * 3 *
I^ u . 1
v 0 ~~~~~~~~~~~~~~~~~~~~~O1 ;
- tlo
11o t v
~ tl ~
b. ~ ~ ~ ~ ~ -~ 11
0 O0 0~~~~~~~~~~F
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 187
although
althoughone
one
of of
thethe
traditional
traditional
derivations
derivations
of augmented- Figure 4. Functional types of augmented-sixth chords
of augmented-
sixth
sixthchords
chords is from
is from
subdominant
subdominant
chordschords
(the #IV7
(the
of #IV7
Ottman,
of Ottman,
Resolution Functional
Functional Type
Type
et
et al.),36
al.),36one
onecancan
be hard
be hard
pressed
pressed
not to not
hearto
thehear the secondary-Augmented-sixth
secondary- Augmented-sixth
dominant
dominant element
elementin an
inaugmented-sixth
an augmented-sixth
chord (#4
chord
as I-of-
(#4 as I-of-
Dominant Tonic Authentic
3)
3) and
andthus
thusnot
not
to hear
to hear
somesome
type of
type
dominant
of dominant
function function
as as
Subdominant Tonic Plagal
aa result.37
result.37 It It
is for
is for
thisthis
reason
reason
that Figure
that Figure
4 calls this
4 calls
functional
this functional
Subdominant Dominant Predominant
behavior
behavior"pre-dominant,"
"pre-dominant," unloading
unloading
some unneeded
some unneeded
freight freight
from
from"subdominant"
"subdominant"and and
stressing
stressing
the dominant
the dominant
setup powers
setup powers
of
of augmented-sixth
augmented-sixth chords.38
chords.38 The b staff highlights these intervals in open noteheads. The
How can one tell that a chord of resolution is dominant? operation of the series, which involves continual enharmonic
Considerations of local and global key relations are, of reinterpretations complicated by elided resolutions of #4, can
course, paramount. But there are other means as well. Major- be read from the arrows in the example. Augmented-sixth
minor seventh chords, for example, are habitual transmitters chords are shown on the b staff, and their chords of resolution
of dominant function, so a motion from augmented sixth to (major-minor sevenths in 4 position) are shown in the left-
major-minor seventh naturally is classified as pre-dominant. hand portion of the a staff; the activity of augmented-
(This situation is illustrated in the case of one of the "lab sixth resolution is indicated by diagonal arrows. After res-
specimens" shown in Example 4.) A cadential 6 also conveys olution, these 4 chords are enharmonically reconfigured as
dominant function (or impending dominant function, if one augmented-sixth chords, a process shown by the vertical ar-
labels the first part of the cadential motion as 1 I); it, too, rows from a to b. Liszt takes advantage of enharmonic equiv-
invites analysis as pre-dominant. Insofar as these motions are alence here to dovetail a series of pre-dominant augmented-
the typical behaviors of the traditional ethnic sixth chords, we sixth chords with their chords of resolution.
need not dwell upon this matter much longer. But an inter- At least two circumstances can discourage dominant func-
esting twist involving the enharmonic equivalence of the tion for the chord of resolution, and hence open up the pos-
German-sixth and the major-minor seventh is found in Ex- sibility of dominant function for an augmented-sixth chord.
ample 15, and it deserves some comment. Underlying the The first is the unlikelihood that a minor triad can transmit
passage is a series of augmented-sixth chords whose essences dominant function. It is for this reason that, as in Franck's
are expressed by diminished thirds buried in the sound mass. Piece heroique shown in Example 13, the augmented-sixth
chords tonicize their chords of resolution.39 What, then, is the
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
188 Music Theory Spectrum
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 189
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
190190
Music Theory Spectrum
Music Theory Spectrum
Example
Example
16. Brahms, "Im Herbst," op. 104 no. 516. Brahms, "Im H
P - af - P
Ernst ist der Herbst. Und wenn die Blat- ter fal- len, sinkt auch das Herz, sinkt
Bleich ist der Tag, und bias- se Ne- bel schlei- ern die Son- ne, die Son- ne
-^bbV- rf
-~ 1' Irf y
. I f" f' I f I J I -J
Tenor
& Bass
''15, d oI e P dolce
Ir r r r rr I: rr 4
auch das Herz zu tru- bem Weh her- ab. Still ist die Flur, und nach dem Sii- den wal- len die
wie die Her- zen, wie die Her- zen ein. Friih kommt die Nacht: denn al- le Krif- te fei- ern, u
\J. 8. B - 51
: F - I ' If' F' i
22 espress. cresc. f
Example 16 [continued].
30 f
AT- cresc.
Feucht- wird das Aug, doch in der Tra- ne Blin- ken, doch in der Tra- ne Blin- ken ent-
r r I#-1^ 'i
36
j rp : dolce dim.
rf r J J L
-stromt _ ent- stromt des Her- zens se- lig- ster Er- guss, se- lig- ster Er- guss.
t'|o v- I
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
192 Music Theory Spectrum
Ernst
Ernstist
ist
der
der
Herbst.
Herbst.
Und wenn
Und wenn
die blatter
die fallen,
blatter fallen, Solemn is the Autumn. And when the leaves fall
sinkt auch das Herz zu trubem Weh herab. sinks also the heart to troubled woe.
Still ist die Flur, und nach dem Suden wallen Still is the meadow, and towards the south journey
die Sanger stumm, wie nach dem Grab. the bards in silence, as if to the grave.
Bleich ist der Tag, und blasse Nebel schleiern Pale is the day, and colorless fog enshrouds
die Sonne wie die Herzen ein. both sun and hearts.
Fruh kommt die Nacht: denn alle Krafte feiern, Early comes the night: for all Powers celebrate
und tief verschlossen ruht das Sein. and deeply withdrawn rests the being.
Sanft wird der Mensch. Er sieht die Sonne sinken, Soft becomes the man. He sees the sun sink;
er ahnt des Lebens wie des Jahres Schluss. he foresees the end of life and of the year.
Feucht wird das Aug, doch in der Trane Blinken Moist becomes the eye, yet in the tear-sparkle
entstromt des Herzens seligster Erguss. gushes the heart's most blessed outpouring.
42I have already remarked above on the similarities between the soprano
m. 17, Brahms repeats the closing phrase of the poem, "w
nach dem Grab," setting "wie" to a standard German-sixth
descents in mm. 7-8 and 14-17; i.e., they traverse the same space between
Eb5 and F#4. But they also share the Ab,-G-F# motive introduced in m. chord
1, and thereby normalizing the approach to the cadent
although in mm. 7-8 it is slightly obscured by surface elaboration. The desire
6. In the second verse, however, the closing phrase, "ruht d
to reuse this melodic idea (or the compositional need to restrict vocabulary)
thus explains the Neapolitan-sixth in G minor found at the end of m. 7; this
chord accommodates Ab as b2. This particular situation prompts additional tively. The Neapolitan could be regarded in general as one element o
theorizing about the Neapolitan sixth as manifesting augmented-sixth ener- horizontalized diminished third between bl and #1. This line of thinking
gies, which I will but briefly sketch. The enharmonic relationshipimplicit of in Schenker's discussion of b2 in Free Composition (trans. and
augmented-sixth chord and V7 of the Neapolitan already places them into a Oster [New York: Longman, 1979], 71 and Fig. 74). The excerpt fr
Ernst
special relationship, but the fact that, in normal resolution, b6 supportedLiszt's
by Orpheus in Example 6, which has an augmented-sixth chord involvi
a Neapolitan traverses a diminished third to p7 links the two more sugges- b2 and p7 flowing out of a Neapolitan chord, also supports this hypoth
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 193
resolution. The mode shift is signaled subtly by having the augmented-sixth category, since the chord in question w
passing soprano G4 in m. 20 harmonized by a C-major triad otherwise be analyzed not as an augmented-sixth but as a
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
194 Music Theory Spectrum
.1 J. i f IJ- J J.
of
of F.
F. In
Inthe
thecontext
context of of
thethe
song,song,
however,
however,this chord
this chord
is in- is in- At
Atfirst
first
glance,
glance,
the reappearance
the reappearance
of the dark, pre- of the
tended
tendedto tobebejust
justas as
much
muchan augmented-sixth
an augmented-sixth as those
as those
met met dominant
dominant Ab-F#Ab-F#
augmented augmented
sixth in m. 40 might
sixth seem
in tom. 40 m
with
with earlier-but
earlier-but only
onlybyby breaking
breakingfreefree
fromfromtraditional
traditional
chord chord indicate
indicatea relapse.
a relapse.
But a breakthrough
But a breakthrough
has occurred, giving has occurr
taxonomies
taxonomiescan canoneoneappreciate
appreciate this.43
this.43 this
thisreappearance
reappearancean aspect an
of reconciliation.
aspect ofThe reconciliation.
mode is
The
The opening-up
opening-updepicted
depicted in the
in the
thirdthird
verseverse
receives
receives
won- won- still
still C major,
C major,
which guards
which against
guards
relapsesagainst
of C-minorrelapses
issues. of C-m
derful
derfulmusical
musicalsupport.
support. Both
Bothsoprano
soprano
and bass
and lines
bass engage
lines engage Alto
Alto andand
tenortenor
pointedlypointedly
move in a contrary-motion
move in avoice contrary-mo
in
in lengthy
lengthyascents
ascents in in
mm.mm.31-37,
31-37,
and and
the previously
the previously
bound-bound- exchange,
exchange, refusing
refusing
to revert to
totheir
revert
C-minortoparallel-motion
their C-minor pa
together
togetheraltoaltoand
and tenor
tenorlines
lines
break
break
looseloose
fromfromeach other
each other
and and pathology.
pathology. Finally,
Finally,
as the soprano
as the
prepares
soprano
to settle prepares
down to
pursue
pursuelargely
largelyindependent
independent courses.
courses.
MostMost
significantly,
significantly,
after after upon
upon E4-another
E4-another
gentle coming-to-terms
gentle coming-to-terms
with previous wi
the
the soprano
sopranobreaks
breaks through
through herherprevious
previous
ceiling
ceiling
of El 5ofand
El 5 and downward
downward obsessions-the
obsessions-the
alto overlaps her
altoandoverlaps
sings G4. her an
shoots
shootsupwards
upwardstoto G5G5 in in
m. m.
35, 35,
she she
is inism.in37m.pushed
37 pushed
higherhigher Not
Not to to
be confused
be confused
with a symbol
with of repression
a symbol (forcing
of the
repression
yet
yet again
againby
bythe
theagency
agency
of of
thethe
Bb-GO
Bb-GO
augmented
augmented
sixth-sixth- soprano
soprano down),
down),
the alto'sthe
overlap
alto's
is rather
overlap
a symbolisofrather
emer- a symb
again
again exhibiting
exhibitingthe
theliberating
liberatingauthentic
authentic
functional
functional
behavior.
behavior. gence;
gence; fromfrom
out of the
outenshrouded
of the interior
enshrouded
dawns a previ-
interior daw
We
We find
findhere
herenono
clearer
clearerillustration
illustration
of the
of paradoxical
the paradoxical
role ofrole of ously
ously repressed
repressed
voice-perhaps
voice-perhaps
the very "seligster
theErguss"
very of "seligster
the
the augmented
augmentedsixth
sixthin in
thisthis
piece;
piece;
symbolizing
symbolizing
the brooding
the brooding which
which the the
poet speaks.
poet speaks.
repression
repressionofofthe
the
first
first
twotwo
verses
verses
when
when
behaving
behaving
pre- pre-
dominantly,
dominantly,ititis is
in in
thethe
third
third
verse
verse
an effective
an effective
therapeutic
therapeutic
agent
agent thanks
thankstoto
changes
changes in mode,
in mode,
pitch
pitch
location,
location,
and func-
and func- CONCLUSION
tional type.
The thesis of this article, that we ought to atten
to the augmented-sixth interval and its function
43It is appropriate to note here the enharmonic equivalence of the chord
and to regard its harmonization as an epiphen
in Example 19 with that shown in Example 8c-that rara avis found so fleet-
ingly in the excerpt from Verdi's Requiem in Example 9. What is more, the ceives eloquent support from Brahms's "Im H
enharmonic equivalence here is between two types of augmented-sixth though standard-issue pre-dominant Germ n-six
chords. The differences in spelling between the two indicate differences in there are more than enough nonstandard treatm
how their respective augmented sixths resolve. That in Example 8c resolves into question the theoretical-and pedagogical
to E. Respelling the chord along the lines of the present case-in other words,
of focusing so intently upon the three ethnic-si
making the D# an El -then places the augmented-sixth interval between C#
and El, meaning a resolution to D. Despite both being augmented-sixth True, they may be statistically preponderant
chords and despite their enharmonic equivalence, these two chords are practice music and therefore deserve their special
functionally quite distinct. when we elevate them to such an extent that
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms
Supplement to the Theory of Augmented-Sixth Chords 195
other
other treatments,
treatments,wewe
lose
lose
theoretically
theoretically
and and
analytically-
analytically- ABSTRACT
theoretically,
theoretically,because
becausewewe
succumb
succumb
to the
to the
temptation
temptation
to circle
to Traditional
circle tonal theory, in its emphasis on the three ethni
the
the wagons
wagonsof oftonal
tonal
theory
theory
in the
in the
hopes
hopes
of closing
of closing
the system of augmented-sixth chord, proves inefficient in handling o
the system
and,
and, as
asaaresult,
result,leave
leave
non-privileged
non-privileged
structures
structures
and proce-
and proce-of augmented-sixth chords frequently found in late nin
dures
dures exposed
exposedand andunprotected;
unprotected; andand
analytically,
analytically,
because century music. The paper reconstructs the theory su
because
we
we are
are unable
unabletoto
fashion
fashion
tools
tools
andand
instruments
instruments
for dealing augmented-sixth chords along more general lines so tha
for dealing
treatments can be more adequately explained and analyz
adequately
adequatelywith
withcompositions
compositions
whose
whose
contents
contents
leaveleave
them them
outside the circle.
support in this reconstruction is given by nineteenth-cent
rists such as Gottfried Weber and Rudolf Louis and Ludwig
It is a truism that tonal theory lacks the rigor and well-
Excerpts from the works of Liszt, Wagner, Richard Straus
defined structure of, say, pitch-class set theory. Certainly, Schoenberg, and Verdi illustrate some of these unusual tr
instincts towards making tonal theory more consistent and The paper also analyzes Brahms's part song "Im Herbst
rational ought to be honored, if for no other reason than no. 5, in which unusual treatments of augmented-six
successful pedagogy requires it. But these instincts conflict abound.
This content downloaded from 200.145.112.13 on Tue, 15 May 2018 17:47:54 UTC
All use subject to http://about.jstor.org/terms