For less classical peeps, if you spell it as Ab7, you basically get tritone substitution

I always watch this video everytime I have a doubt on Augmented Sixth. Thanks! Now I can finally pass my Harmony 4 class hehe.

Crystal clear - brilliantly communicated! Thank you very much.

This is the video that made me understand augmented sixth chords. Thank you for starting with the German and then explaining the other ones from that perspective, makes much more sense to me.

Brilliantly clear analysis of augmented sixth chords. Thanks so much!

Really love all of your videos! You explain everything so well, Thank you so much!!

so glad I came across this channel

A very clear and complete explanation, thank you!

Great explanation! Thanks for all your videos!

THANKS for highlighting those chords...what a great review!

Thank you for this in-depth video! Great explanation!!

My theory teacher couldn't convey this concept as well as you did. thank you. 12 mins just saved my life. Now I can fare better on my final. Btw, do you have videos on Diatonic modulation?

Thank you for such an enlightening tutorial!

In German terminology, there are more types which are present mostly in (late) Romantic music. How are these chords called in English? Key = A minor Chord 1: F-B-D# (Übermäßiger Quartsextakkord) Chord 2: F-A-C#-D# (Doppelt übermäßiger Quintsextakkord) Chord 3: F-G#-B-D# (Doppelt übermäßiger Sekundakkord) Chord 4: F-Ab-B-D# (Eulenspiegel-Akkord www.mu-sig.de/Theorie/Tonsatz/Tonsatz18.htm, although according to Ex. 7.4.1.3.-5. it would resolve to I6 of C major) [also Fr6+ but with minor 3rd] Key=C major Chord 5: Ab-C-D#-F# (Doppelt übermäßiger Terzquartakkord)

I found this particular (video and) explanation of augmented sixth chords very helpful, thank you.

So incredibly clear. Thank you!

Very very good. I think this is as good a harmony video have so far seen!

Very nice video! In the same Chopin-piece (C# nocturne) you can see an example of the French +6-chord on the second page (staff 3, bar 2&3). And on the 3rd and final page he uses a dim-chord to get to the dominant (staff 3, last bar). That piece is a good example of creative use of these variations!

You can use this chord to modulate chromatically upward, which I find very neat

Thank you so much for this video, visual and logic explicitly explained!! I just love the Chopin Norturne in C# - , will delve into it as soon as I get the music.

Hey! your videos are awesome, really really really helpful. Thanks for sharing them

Thank you very much! It's so useful!

Thanks for the informative content. My greatest aspiration would be to write my own compositions so this is all very helpful

Excellent tutorial 💙

This tutorial was excellent . 10/10

The German Aug6 has to resolve to I 6/4 to avoid those parallel fifths between Ab/Eb to G/D (8:19)

thanks so much for sharing.

(Breathes in) “I 6/4 is dominant function!!”

very well explained! thank you so much!! ❤️❤️

Great lesson, this guitarist thanks you 👍

This is very good and useful. Thank you.

You're a good educator.

Thank you so much! That was a great explanation, I finally understood.

So clear, thank you!

oh! something you just said in the middle of all this helped me to make sense of something I never understood: from where does it come the seventh of a diminished chord?! as with all other notes of the chord, it comes from the harmonic minor, this is why you have lowered and rised semitones grouped together! and the leading note is at the root while the seventh of the chord isn't a leading note at all and just appears lowered (even if in a major mode it shouldn't);

For me, this is the easiest method. Thank you!

This is perfect!

THANK YOU! Well you explained it so well that the last question was only difficult because of the key not the type of chord :)

Great video! Thank you

Great video, thank you!

this was really helpful studying for my Theory exams thank you

thanks! very useful and clear!

Thank you, this is super helpful!

very clear!

Excellent, thanks!

Thank you; you are the reason I'm not failing chromatic harmony rn :')

Great Content, man!

very useful and clear. more examples: the cadence on the dominant near the beginning of beethoven's 5th, the last page of Schubert's wanderer fantasy.

I love that VII°7/V chord! I'll have to use that sometime! I'm familiar with all the other chords mentioned. That V/V chord, I was taught that it's called Chromatic Supertonic 7th. Alternative name I guess. Great video anyway!

Please make more video like these!

love it

If anyone's interested in more examples, believe the second movement of Beethoven's "A Therese" (Piano Sonata No. 24) actually opens with an Italian 6 chord.

the "dream a little dream of me" chord

Thanks!

in the case of the Napolitan sixth, "sixth" refers only to the interval, right? since the chord comes from the lowered 2nd degree; in case of augmented sixths, the root of the chord is actually also the lowered 6th degree (I could even think of it as a lowered second degree of the dominant!); does the name here comes from the interval, the degree or both? couldn't one call the 7 the root, understanding it as a chord whose root is the leading note (7th degree) to V (what seems to make lots of sense in relation to the German augmented sixth)? or perhaps view the chord as a dim7 chord of the V of V (what seems to make lots of sense in relation to the French augmented sixth)? another question: all the accidents we see in pre-dominant chords (Napolitan, augmented) can be said to "come from" the harmonic minor and the frygian (lowered 2nd degree) mode (respectivelly of the tonic and/or the dominant)?!

My brain... Thank you so much for this video! It'll take me a few more watches to really get it into my system, but it's amazing to have such a great resource available for free! Thank you!!!

Thank you so much

Goos analysis here. I took some screen shots to help a student. Thanks.

Hello, In 3:28 it says that the secondary diminished 7th chord is built on the leading tone of G ascending melodic minor, but such ascending scale has E natural, not E flat, and the chord does have E flat.

Love your clip. ? Is 7(b5) =(1 3 b5 b7) a Dominant chord ? Is 7(#5) =(1 3 #5 b7) a Dominant chord

Hi there Thanks so much for this video. i just have one question: the root of augmented 6th is a minor 2nd above the dominant, for a MAJOR KEY (in other words a flat 6). But all examples i have looked at so far in a MINOR key, uses a normal 6 in stead of a flat 6 for the root of the augmented chord? Eg, your example in C# minor

Hi! thanks for this video. One thing is perplexing me slightly, and that is that you say that the F sharp diminished 7 is built on the leading tone of G melodic minor ascending, although G melodic minor ascending has an E natural and not an E flat? Am I missing something? Thanks again, Ed

Hey man sweet vid. In Rick beato’s vid, he says that these chords are built on the #4 so that the chord is in first inversion with the b6 in the bass. But you say that the chords are built on the b6, just wondering about that distinction

please teach us the classic harmony with love from egypt

Now... at 7:10 you speak about the fact that you have to resolve the italian augmented sixth’s double third in opposite directions to avoid parallel unison/octaves. But in the german augmented sixth I find it that you made a crucial mistake in saying it resolves to five immediately. There will be parallel fifths in the german augmented sixth if not treated correctly!

Can you explain Schecter voicing a bit? I can't figure out how to use aug 6ths in that voice without sounding terrible. They seem to sound so dissonant - and they instantly make my 8-month old cry. In fact Schecter voicings seems to totally alter the sound of the chord rather than change the shade of the harmony. I figure I must be doing something wrong. Any explanations or tips would be helpful. And if that's not a big enough ask, could you answer this question as well - I've always read that tritone intervals were considered dissonant and strongly discouraged through the Baroque era, yet there seems to be a tritone interval in the aug 6ths, as well as in Dominant 7s, and both fit nicely into western-theory based chord progressions. Is all that stuff about the devil's interval just myth? And is it that Tritone interval that gives Aug 6ths their unique abilities, or is the presence of the TT interval not that relevant to it's use?

We’re doing these and Neapolitan 2nd’s in my advance keyboard skills class. This theory shit is so hard

Is it called augmented sixth chord because the chord is built off the lowered sixth degree of the key or because the actual interval is that of an augmented sixth ? Or both ?

So could the Ab7 in C major also be called a modal interchange chord (bVI7) from C Locrian (key of C# major)?

is this chord in David Bowie's Space Oddity at all? Can you hear me Mr Tom ...

I think modal mixture should be introduced first before Augmented 6th, since that's a form of combination of both applied and mixture scale degrees. Also, German +6 resolves to V(6/4) because of parallel 5ths issues. (I say V(6/4) and not a I(6/4) cause functionally it's a V)

I tend to consider aug. 6th chords as V/V chords, either with (French) or without their root. And with a diminished 5th, of course (A flat in the key of C). In other words, different varieties of a II chord.

There's also the British Doubly augmented 4th.

Wow, this is slightly out of my pay grade, but it sure does help for learning the keyboard.

good way to explain this but what about the parallel fifths Eb-Ab to D-G between alto and bass??? I think you should have at least mentioned that.

🤩

2:21 Aug. 6 ger (↗️↘️ 6:48 italian (↘️↗️ 7:20 french (➡️➡️ 7:44 alle

Bro, your videos are fast precise easy to understand and also accurate, do you have a webpage or a program that provides all of these courses progressively?

What's the difference between a tritone sub of five and the Gr+6?

3:20 "built on the leading tone of G ascending melodic minor" Shouldn't this be G harmonic minor (due to the e-flat?)

Hmmm why is F- sharp the 7th instead of G -flat. I have always thought that the G flat resolves to F ,its funcntion is to lead us to the G 7 chord. Can someone explain to me please

Whats the difference between an augmented sixth and a Tritone sub?

i think 'Fretjam' and 'Kent Hewitt' channels explain this a lot better

Can any kind human being provide me with the name of the intro piece? Been trying to find it for the past hour. Thanks in advance

7:44

ITS A DOMINANT 7TH WITH A FLAT FIFTH. 3rds always resolve up. 7ths/5ths always resolve down. There. You're welcome.

Don't Jazz men call this tritone sub?

9:54

2:28

I'm not understanding why it's called an augmented 6th chord? To me it looks more like a flat 2nd with a 7 than a augmented 6th, could someone explain?

3:21....not melodic minor, HARMONIC minor...the Eb.

I don't understand the 'double thirds' bit. Why do we need to write it that way? Why can't we just leave out the fifth?

3:03 the F#°7/A sounds like it has a function of a minMaj7

Aren’t Aug6 chords rootless?

11 people have sixths that are diminished instead of augmented

it cant be called as Ab7,b5 cuz thats another french chord that should resolve to to a Db7...the french chord on the key of C is D43,b5 that goes to G7

Me: *repeats **4:50** - **5:04** about a hundred times or so* "Where is the root of an augmented 6th again?"

Hey there! first thing: All of the "chromatic pre-dominant chords" as you say are just different versions and inversions (alterations for example) of the V/V. So the reason the augmented sixth works so swiftly is because there is no physical key change happening. If you acknowledge the structural superiority of a dominant 7 voicing then you should know that your ear will alter the f# to a g flat if presented or established in a fitting key( if a flat were to be the root of the chord, which would pose a key change from c major). the way you present it (with a preceding c major tonic and the following dominant) a flat will never be percieved as the actual root note which in reality still is D and only D. Just because a note is not found in the voicing doesnt mean your ear will not percieve certain surroundings governed by their connection of frequencies anymore and follow a Dominant to tonic type of resolution. Nevertheless you are on the right track as a flat is the diminished fifth of that dominant chord( which is a dominant with a 7 and a minor 9 btw.). therefore this applies to the second type of "chromatic pre-dominant chord" you mentioned as well as its root note is also D. the minor 9 plus the tritone between 7th and 3rd really lock that in. whether people want to call it something else or not. second thing: I would consider your 1 6/4 chord a suspended dominant without a change of the root note, only because a 4th is much less stable than a 5th. third thing: finally an online educator acknowledging the sn chord (Neapolitan 6th)1 and not claiming it is changing the key! thank you! fun video!

A simple way to comprehend how Augmented Sixth Chords are derived: IV - iv - iv6 - X+6

Am I the only person that can hear a German chord often resolving to a l 6-4?