The metal bass guy wasn’t even mentioned lol

You're right, of course, about the multiplicity of accounts for a similar structure/phenomena, though my real intent here is to bridge different approaches for understanding harmony. Conventionally students learn one system for analyzing classical music, and another for popular music, perhaps another for jazz, with the tacit assumption that one is inherently irrelevant for the other, which is certainly not true. Mozart didn't think in terms of Roman numeral analysis, theorists superimpose this framework for its explanatory power. Polyphonic voice leading can offer an interesting take on pop music, just as modern chord theory can comment on medieval monody, for example. My ultimate goal is to help DIY musicians see the flexibility of these systems, so they can form their own music theory that serves their unique musical goals that push beyond any single stylist convention.

Here's the thing, Aug6 and tritone sub are two separate concepts that developed totally independently of each other, in classical and jazz. Interestingly they turned out to work the same way

As a jazz guy, this is just a tritone sub to me, but I was always confused by this notion of aug 6ths, so thanks for bringing the world back into focus.

MusicTheoryAdvanced the thing that’s interesting about “Dead and Lovely” is that the Ab7 is doing two different things functionally in a minor blues context. In bars 5 and 6 it’s a bVI7 chord, which is a subdominant function in minor blues, and standing in for the Fm. It then turns into a sub V7/V in the cadence. It’s fascinating to see that both of those are “German + 6” chords, although I still think any Ab yr gonna call a 6 chord ought to have an F in it.

I believe that some of you are mistaken. The Ger+6 is a predominant chord that, when moving directly to V, opens to an octave of the fifth scale degree via the interval of an augmented sixth that is found between b6-#4. In "proper" 4-part voice leading> b6 resolves down to 5 in the bass, while #4 resolves to 5 in an upper voice. This is absolutely the case for The Beatles example if you want to see what I mean. In pop chart notation, the chord is often spelled enharmonically as a dominant-7th chord built on the b6 scale degree. It is not, however, understood this way in counterpoint. What some of you are referring to as a "tritone sub" is different. The reason it is called a tritone substitution is because the root of the dominant-7th chord is the interval of a tritone away from scale degree 5. This translates to a bII7 in Roman numerals, which means that the resolution is bII7-I, not "bVI7"-V, which would be a true Ger+6. I believe the reason for the confusion is because both harmonies resolve in a similar way. The tritone sub is a substitution for the dominant (or possibly function as a dominant prolongation), while the Ger+6 has a predominant function that resolves to a harmony built on scale degree 5 (often the V(7) chord). Cheers.

But that blues was also influenced by western music right? It began as a modal northwest african thing with microtones and all that, then at some point they started going to the 4th from time to time and then they added the classic 5-4-1 (or any of the other cadences in classical music!) which in the end became jazz and then influenced pop music!

One very very important aspect besides the chord itself in classical music is voice leading (which he also didn't mention big enough) which makes it a bit more complicated. In C major the top voice would preferably always use that F#-G whereas the base that Ab-G which makes that chord so distinct.

Yeah, the German one would be more common, because 1) it's a standard dominant 7 chord, and 2) it's most similar to the Tritone substitution, which is what it's more likely to be called in a jazz context. In that jazz context however, it can be altered like any other dominant (a b5 might resemble the French 6th, with a ninth). The point here is that what's fundamentally interesting about this structure is nothing new, it has a multiplicity of names and variations, and is likely to remain musically interesting for the foreseeable future.

The seventh is the root of the chord that you're resolving to. I find augmented sixth chords make the most sense if you think of them as being built on the second scale degree of Neapolitan minor (Phrygian #7), since an augmented sixth chord occurs naturally there. If you count the scale degrees, you'll see that it has to be a sixth, not a seventh.

I always thought of it as a sharp dominant chord. it's used in minor scale chord sequences which can be used in their natural major/minor states or as all major chords. when used in a turnaround it has a very strong pull to the dominant chord.

House of the rising sun? the chords are Am C D F Am (C) E7 Am, the F has no seventh . There is no augmentend sixth dude

leo Roy okay, not the whole time-but it is a Ger+6 chord when rhe organ comes in.

How Audio Works A chords function is like the basis of all music theory lol

LOL back at you, Christina; we are not all born with music theory.

How Audio Works Ahaha it's fine

Exactly!

Are you not aMUSEd?

SuperMike nice

WHY would you want that turd's "music" analysed? Easy - Wipe your ass, look at what's produced on the paper - Done...

This is what I was thinking as well!

David C I would have said the same thing. This is a Piccadilly third like you find in Baroque music.

No it's not, the piccadilly is when you have the same chord at the end but major, if this song had finished in a G major chord it would be a piccadilly third (tierce picarde).

leo Roy dang it im stupid

Mega Josh same thing happened for me. I thought I for sure heard it then when he showed the chords it was not the bar I had heard it, then when he replayed it, it was on the part I heard but not the bar from earlier.

I thought my ears were broken. I had to rewatch it 5 times to understand that I wasn't crazy.

Not the one you're thinking of but I like to use "Us and Them" by Pink Floyd.

That's what I was thinking, a tritone sub for the V of V. Though having the root and fifth where they are is certainly a different sound from a II7 V7 i.

Same here it's a tritone sub

or the neapolitan of the V chord in musical theory for classical music

There's a tritone resolving in this progression too (Ger+6 > V), but its effect is masked by the Augmented sixth (interval) resolving.

have to correct my earlier comment, you cant really call it a neapolitan also: the aug. sixth idea "died" in the 20th century in favour of tritone subs, at least in the heads of most musicians (from the jazz era for example), classically trained people may think of both as seperate historical devices, so mozarts peculiarity was not resolving the parallel fifths resulting from aug sixths and jazz musicians dont give a fuck about that to begin with so both thought of that chord in a different way there are interesting similarities aswell: the fr 6+ uses a b5 (enharmonic #4) just like jazz musicians playing mixolydian #11 (#4) over tritone subs which is pretty common

At what lyric/time?

mr7clay "...Beelzebub, has a Devil put aside for me..."

That's I - IV - V/vi - vi.

In a minor key, the dominant would normally be a minor chord. However, the resolution sounds "better" if it's a major chord, because then you have a note one half step below the tonic, resolving up to the tonic. The sharpening of the third of the dominant (or the seventh of the scale) in a minor key is called the harmonic minor scale.

Billy Garvey More or less, but the other +6 chords are spelled without the fifth, so they aren't always enharmonic to a dominant seventh chord.

Can you offer any suggestions?

@@jawg22 Wolf at your door has a nice Neapolitan 6th

I haven't seen the other video you mentioned but you explained it a lot closer to this music mechanics intuitive understanding of chord changes than the narrator did.

Does i6 or 1,6 refer to scale degrees?

the 6 refers to the inversion of the chord when the chord has the 3rd in the bass, it's on first inversion, thus it becomes i6 if it has the 5th, it's second inversion, thus it becomes i 6/4 and if the root is on the bass, then it's just i

Thank you

that was fast you're welcome

You are correct! That's why I covered the two flats in the first part.

Same here. Would love to see an analysis on TDEP!

yeah man, how could it all be

Yeah I came for Greg too :(

Aug6 parce que cet accord qui a pour fonction V/V contient l'intervalle de sixte augmentée. Et cet intervalle se résout chromatiquement à la fois vers le haut et vers le bas pour former une octave, celle de la fondamentale de l'accord de dominante. Par exemple dans l'exemple des Beatles, le Sib et le Sol# (6xte aug) se résolvent sur l'8ve La-La.

Je crois que tu as confondu; le V/V est l'équivalent d'un "II 7", dans l'exemple des beatles (en ré min) il s'agit d'un "Mi 7" qui devient un "Mi 7/b9", et le "Mi 7/b9" est une substitution tritonique d'un "Si b 7" et "Si b" est le "bVI" de Ré !

Je sais très bien que V/V est équivalent à II, et c'est vrai qu'en ré mineur Sib est le bIV mais ici ce n'est pas le propos. Je répète donc ma réponse à ta question, l'accord de 6xte augmentée s'appelle comme ça parce qu'il contient cet intervalle. Et cet accord, depuis l'époque classique est utilisé en tant que V/V pour pimenter une cadence avec un chromatisme à la basse. Car le fait que Sib soit le bIV de ré ça n'explique pas pourquoi l'accord ici Sib-Ré-Fa-Sol# se nomme "Aug6"... Je te conseille de regarder l'autre vidéo que ce garçon a fait sur le sujet, kzfaq.info/get/bejne/f8-aeMxznaqyiaM.html

En réalité ce que je trouve perturbant c'est de faire référence à une "sixte augmentée" intervalle qui n'existe pas réellement, et encore moins dans ce cas précis où l'accord est un accord dominant ! Si l'accord à une sixte augmentée (ce qui équivaut à une b7) cela suppose que si on ajoute une 7ème à cet accord elle serait automatiquement majeure, or ça n'est possible d'ajouter une 7ème majeure à un accord dominant, je pense qu'il s'agit juste d'une erreur de notation de sa part, je ne remet pas en doutes tes connaissances ! En ce qui me concerne, la sixte augmentée qui, au passage est un enrichissement n'a rien à faire ici ! Il s'agit d'un bVI 7 et de ces substitutions ! Je ne vois pas pourquoi il le note Sib Ré Fa Sol#, alors que c'est Sib Ré Fa Lab voilà tout :)

JerRock - Cours de Musique En fait je pense que tu connais bien la théorie du jazz. En jazz, si on réfléchit accord par accord, je suis d'accord, ce sol# serait un lab et ce serait une septième mineure tout à fait normale dans un accord 7, donc un enrichissement comme tu l'as dit. Cependant ici, ce qui peut perturber (mais ce qui rend aussi cette vidéo intéressante), c'est qu'il essaie d'expliquer cette notion en terme d'harmonie classique, qui n'a que faire de la substitution tritonique, qui est une notion de jazz. Le problème, c'est que tu n'as visiblement pas cette notion du point de vue de l'harmonie classique, donc tu as du mal à la comprendre. Il ne s'agit pas d'une erreur de sa part, il s'agit bel et bien d'une 6xte augmentée et non d'une 7eme mineure. Pourquoi ? Parce qu'une 7eme mineure telle qu'on en voit dans les accords 7 (de dominante) se résout toujours (en jazz comme en musique savante) conjointement vers le bas (ici, le lab se serait résolu sur le sol). Ici au contraire, le sol# monte vers le la. L'intérêt d'un V/V avec 6xte augmentée est précisément le couple "tension détente" créé par ces deux mouvements contraires conjoints (sib -> la à la basse, et sol# -> la au dessus ou dans les voix intérieures, ou en terme d'intervalle : 6xte augmentée -> octave). La musique est universelle et on peut la comprendre de plein de manières différentes, ici, il explique une musique pop en terme d'harmonie classique, ce qui est à la fois un point de vue ambigu (car je ne pense pas que Paul McCartney l'a composé en pensant à l'accord de 6xte augmentée) et intéressant, car cela permet de comprendre pourquoi ça sonne du tonnerre du point de vue de l'harmonie classique. Si tu ne l'as pas fait, je te reconseille de visionner l'autre vidéo de ce garçon sur les accords de 6xte augmentée, car c'est compliqué d'expliquer dans un commentaire KZfaq haha Bonne journée !

CasagrooveMaroc, this can be a confusing concept, don't worry. It's answered better in the other video all about augmented sixth chords. In short, the G# is enharmonically the same as Ab (ie, the same note on the piano), so the Bb7 chord symbol's role is usually to give the easiest chord to read, regardless of proper chord spelling. We use G# instead of Ab in the notes because it is resolving upward to A, as a traditional augmented sixth chord would in classical music. If that's confusing, just watch the other video, haha. Good luck!

I will check the other video! i got your point the thing here, is that the note is a G and not a G# (or an Ab) meaning the actual chord is Bb7dim, is it right? Thanks a lot for your time!

No, the note is actually a G#. Anytime you have an accidental (a sharp or flat), all the same notes that follow in the same measure have the same accidental. In this case, the even though G in the Bb7 has no # in front of it, it is actually G# because of the G# that appeared in the E chord earlier in the same measure. So from bottom to top the notes are Bb-F-G#-D-F; arranged as a root position chord: Bb-D-F-G#. FYI, Bbdim would be Bb-Db-Fb :)

then it all makes sense, just misreaded it then! Thanks a lot!

And how would you note a chord with a perfect fifth, a major third and a diminished 7? a Bb6? Thanks i know this is out of the subject :D

It's not about the fifth. It's about the sixth. For example, in C major/minor, the German aug. sixth is: (F#, Ab, C, Eb), the Italian is: (F#, Ab, C) and the French is: (D, F#, Ab, C). Since all these chords are usually written either in first inversion (Ger, It) or in second inversion (Fr), i.e. with Ab on the bass (in C tonality), this creates the interval of the augmented sixth, i.e. Ab-F#. The only "foreign" note is F#, because it doesn't exist in C major or minor (although, both Ab and Eb exist in C minor, though they exist in C major as well, via modal interchange ("borrowed notes")). In addition, notice that it's not Ab-Gb, because that'd be a minor seventh, and then this chord would function as a dominant of Db maj/min (in case it resolves in Db major, it can also be the dominant of the Neapolitan of C!).

Regarding the French augmented sixth chord, I would like to share my thoughts: Consider the V chord of A major. It consists of (E, G#, B). If we raise the 5th, we'd have: (E, G#, B#). If we add the seventh, we'd have: (E, G#, B#, D). If we also add the ninth, then the result would be: (E, G#, B#, D, F#). If we now omit the root of the chord, the result would be an altered VII chord (since the VII chord is a part of the V chord, altering the V would also alter the VII). In this case, we will have: (G#, B#, D, F#). Hmm... What about {D, F#, Ab, C}? Aren't all the notes enharmonically equivalent? So, the French aug. sixth of C can also resolve to A major (I am not sure about minor). But what about Eb or Ab? The altered VII (as described above) of Eb is (D, F#, Ab, C). The D goes to Eb, done! But this chord can also function as the VII of V of Ab! In addition, notice that the French aug. sixth chord of C has the exact same notes with the French aug. sixth chord of F#! That's maybe because C and F# are a tritone apart, and because the French aug. sixth chord contains notes from the whole-tone scale (now I don't still wonder why they call it French...). So, with proper voice leading, instead of resolving to G (V of C), you can resolve to C#/Db, i.e. the Dominant of F#/Gb. Note that the German chord of C can also function as the Dominant of F#/Gb. It's all about function, eventually... If you'd like to comment about all these, please do! All these things are very, very exciting, yet confusing a little bit...

Obvious enough no?

Analysis is a tool for making a case. I make the point that they do a good job of ambiguating the tonal center. If you claim it's in Gm, you should explain why, for starters, cadences throughout resolve on Bb. Where is there a I64?

Mark Petering arrogant and pretentious. No need to be mock him.

Yeah man, go for it.

No

This isn't a video about writing music, it's about analyzing music that is already written. No one said you should think about this during composition.