Augmented Sixth Chords: An Examination of the Pedagogical Methods Used by

Three Harmony Textbooks

In searching for manifestations of Hegelian unity in music (as theorists and
philosophers so frequently do), one need not look further than the augmented sixth chord.
Defined by its linear melodic outline, it functions as a vertical, harmonic construct;
innately chromatic, it impetuously proclaims a tonal center; distinct in its individual
character, it is consummated only in concurrence with its fellow harmonies; indeed, the
augmented sixth chord is an exemplary juxtaposition of antithetical concepts. How can
one even begin to explain so complex an entity? How can one account for its copious
possibilities and implications? Theorists and pedagogues have taken many different
approaches to the teaching of augmented sixth chords. In the following paragraphs, three
such approaches will be examined and discussed as put forth by three different textbooks:
Harmony and Voice Leading (Aldwell and Schachter), Harmony (Piston), and Harmony
(Schoenberg).
Intended for students of varying theoretical backgrounds, both the Piston and
Aldwell/Schachter texts provide an organized, methodical explanation of augmented
sixth chords and their uses. (Schoenberg, writing for a different audience perhaps, differs
wildly in his approach and consequently will be discussed separately.) Discussion of
these chords in both textbooks begins with a description of the interval of the augmented
sixth and its title role in augmented sixth chords: Piston provides a brief, detailed, verbal
account, while Aldwell and Schachter introduce the interval with an excerpt from a
Mozart sonata before proceeding to a verbal description. They then make several general
statements to be elaborated upon later and point out that these chords are unique as they
do not belong to the key of their resolution. The description is clearly communicated
through use of letter note-names and written notes, while Pistons description is slightly
abstruse in its reliance on scale degrees. Having introduced augmented sixth chords, both
books then explain contrapuntal origins and present the four, multi-national varieties:
Italian, French 4-3, German 6-5, and German 4-3. Piston lists the four chords and
adequately explains their construction. He then appends his Definitions section with a
Resolutions section that makes use of the same esoteric jargon as his introduction of
the augmented sixth. Several interesting comments on the intuitive and logical
associations of the different chords with either major or minor modes provide some
compensation for the sections deficiencies; nonetheless, Pistons commentary pales in
comparison to Aldwell and Schachters exhaustive accounts of each chord that include
characteristic qualities, frequent uses, resolutions, and examples from widely-known
repertoire. It is interesting to observe the paradigm shift from Pistons definitions, which
assign each chord to a somewhat contorted version of a Roman numeral, to those of
Aldwell and Schachter who, having already dismissed augmented sixth chords as keyless
entities, absolve themselves of any such diatonic responsibility.
After expounding on the intricacies of these chords, Aldwell and Schachter
discuss various means of approaching augmented sixth chords. Any student who thought
the previous description were lackadaisical will certainly take recompense in reading this
section: Aldwell and Schachter thoroughly chronicle the methods of arriving at
augmented sixth chords via chromaticized, altered, or just plain simple forms of I, II, IV,
and VI. Though they have abstained from relating augmented sixths to any diatonic
harmony thus far, the authors can not entirely escape pedagogical tradition, and so they
do correlate these chords to II and IV. Aldwell and Schachter then explain the use of
augmented sixth chords as agents of modulation to V and discuss other miscellanea that
Piston only briefly touches upon. Both textbooks proceed to mention the use of these
chords in inversion, resulting in diminished thirds; this is fairly self-explanatory and need
not be elaborated upon. Finally, both texts arrive at descriptions of perhaps the most
interesting and empowering quality of augmented sixth chords: their ability to
enharmonically double as dominant seventh chords and thus create a portal to distant and
unrelated keys. It is unfortunate that this elucidation is relegated to the very end of the
chapter at which point the student may be overwhelmed by the complexity of the topic
as this aspect of augmented sixth chords provides easy access to a wide spectrum of
interesting possibilities that were previously unattainable.
Before moving on to Schoenbergs textbook, it is necessary to take note of the
problem of parallel fifths that arises when the German augmented sixth chord resolves to
V. The problem lies not in the parallel fifths themselves as these can be easily avoided
by inserting a 6-4 chord but rather in the fact that this strictly forbidden interval
progression is actually quite innocuous and often occurs in compositions of the great
masters. Both the Piston and Aldwell/Schachter texts dutifully warn the student of the
danger of parallel fifths and discuss ways of avoiding them within this particular
resolution, but they all too grudgingly admit that, were this sacred doctrine violated, the
sacrilegious composer would not necessarily be smitten to the ground by a lightning bolt
from the heavens.
In stark contrast to both the aforementioned textbooks, Schoenbergs Harmony is
not intended for the average student. As the author delves into a profound philosophical
investigation of augmented sixth chords without actually explaining what they are, it
becomes quite apparent that the reader must be endowed with both previous knowledge
of the topic as well as saintly patience. The contents of the chapter seem better suited to
the composer struggling to find interesting creative outlets within the tonal idiom than to
the musician seeking a clarification of harmonic theory.
Rather than explaining augmented sixth chords as a whole and then specifying the
characteristics of the four different types, Schoenberg accounts for each chord
individually. He begins with augmented 6-5 chord, but is almost immediately distracted
by the issue of parallel fifths in this chords resolution. After stating that these fifths are
not so bad after all since they were used by Mozart, he declares that anything written by
the masters should be permitted. This statement sends him on yet another tangent, and he
begins to consider the differences between practical and aesthetic theory, only to
conclude that the student should not write parallel fifths whenever it is possible to avoid
them. Such digressions are characteristic of Schoenbergs writing style in this book; the
reader must accept them and grow accustomed to them in order to benefit from the
authors wisdom. Returning to his original subject, the augmented 6-5 chord, Schoenberg
presents a very interesting approach to its derivation: bound to the notion that the chord
must belong to a diatonic scale degree yet seeking consistency, Schoenberg classifies the
augmented 6-5 as an incomplete ninth chord on II, where the root (scale degree 2) is not
actually realized. Any other derivation, he maintains, would define the chord as a variant
of either II, IV, or VI depending on its context, and this disparity may be confusing (!).
Schoenberg uses this very argument later in the chapter to dismiss the idea that the chord
could belong to any particular key, and having thus liberated augmented sixth chords, he
immediately associates them with diatonic harmonies yet again. Now that the augmented
6-5 chord has been explained to the authors satisfaction, he accounts for the other
augmented sixth chords as inversions of the 6-5. Since he views the chord as a ninth
chord, four inversions must exist; thus Schoenberg invents a new species of this
augmented sixth chord. The next few pages are devoted to the anthropomorphization of
various scale degrees and to unnecessarily complicated analysis of enharmonically
equivalent spellings. Finally, Schoenberg states the significance of the chords double
function as augmented sixth chords and dominant seventh chords. Of the three textbooks
explored thus far, only Schoenbergs Harmony fully addresses the possibilities and
implications of this duality.
The remainder of the chapter is of greater compositional interest than it is of
theoretical significance. Schoenberg, recognizing that the student may be timid in writing
chords of such distinguished, chromatic, character, urges him or her to make frequent use
of these chords in order to consistently and distinctly color a composition. The student
need not fear that the overall sense of tonality will be lost, since it can always be
reinforced through proper resolution of the augmented sixth chord to V and then I.
Schoenberg presents the idea of constructing augmented sixth chords on each diatonic
scale degree (the scale degree itself acts as the silent root of the ninth chord, of course)
and suggests that all these chords may be used, even if vigorous means are sometimes
needed to restore the key. (252). Later in the chapter, two new varieties of chords are
introduced: the first is an inverted, French, diminished third chord in which the third is
surrounded by the minor seventh formed by the remaining two tones; the second is the
same as the first, but here, the upper leading tone is lowered by a half step so that it is no
longer a leading tone (in essence, this is a half diminished seventh chord). In both these
chords, the outer voices that form a minor seventh resolve outward to an octave, just as
an augmented sixth would. Schoenberg points out that these chords are not particularly
complicated and do not require lengthy discussion, but then proceeds to discuss them for
the next several pages. The unexpected outward resolution of a minor seventh, however,
is a useful and interesting compositional device. Towards the end of the chapter,
Schoenberg suggests that the student practice connecting augmented sixth chords with
diminished seventh chords, augmented triads, Neapolitan sixth chords, and other
augmented sixth chords, and explains the benefits of each of these relationships. This
once again presents the student with many interesting options.
Schoenberg concludes with some remarks about the necessity of proper voice
leading in composition and the possibility that extended chromaticism will someday be as
prominent in vocal music as it is in instrumental music. Maintaining the logical and
rhetorical style of the rest of the chapter, the author leads to his final coda by writing: In
conclusion, yet other possibilities for resolving the diminished seventh chord should be
added here. To reward the brave reader for surviving up to this point, Schoenberg offers
extremely insightful and useful commentary in the penultimate paragraph: pitches are
flexible. Each pitch even combinations of two or three pitches contains a myriad of
possibilities. Alterations as simple as moving a single pitch up or down a semitone can
result in entirely new contexts, while still maintaining some tonal relevance. Having
thoroughly confused the reader, Schoenberg vehemently urges him or her to go forth and
explore. Keeping this imperative in mind, even some of the authors more far-fetched
advice is invaluable to the composer.
The pedagogical methods used by Piston and Aldwell and Schachter are
thoroughly organized and fairly clear, which accounts for their popularity and widespread
use. Though Pistons explanations tend to be obscure, they are quite adequate, and though
Aldwell and Schachters explanations tend to be gratuitously detailed, they are thorough
and they demonstrate the significance of augmented sixth chords within a greater musical
framework. Schoenbergs book, though not for the faint of heart, is perhaps the most
interesting, most compositionally useful, and at least as unique in character as the chord
that it describes. Though these three textbooks competently clarify augmented sixth
chords, the intricate and somewhat mysterious nature of these harmonies is never truly
elucidated. A teacher can, at best, combine the three didactic approaches by describing
the more tangible qualities of augmented sixth chords, familiarizing the student with
common uses of these chords, and sending the student off to discover for him or herself
the plethora of possibilities that exist in the uncharted waters of the chromatic world.
I. the interval of the augmented sixth
a. why an A6 and not a m7?
b. Inherent chromaticism of the double leading tone
c. Outward resolution to a P8 (play examples; compare to examples of resolution
of a m7)
II. augmented sixth chords
a. chord construction (play each chord)
1. Italian
2. French 4-3
3. German 6-5
4. German 4-3
b. Common resolution of each chord (play each resolution)
1. mention parallel 5ths formed by German A6, show that they are not
strongly heard, suggest that proper voice leading be followed for
pedagogical purposes
c. approaching A6 chords (play each approach)
1. from II and IV
a. chromaticized voice exchange
2. from VI
3. from I
4. contrapuntally
a. through chromatically descending bass
b. with b6 as neighbor note to 5
d. common uses and characteristics of each chord
1. play and discuss examples from the repertoire
III. diminished third chords
a. inversion of A6 chord
b. proper voice leading
Separate Lesson
IV. A6 chords in modulation
A. modulation to V
1. discuss role as secondary dominant
2. play and discuss examples from repertoire
B. modulation by half step
1. discuss double function as dom7
a. function as V7/bII
b. typical uses
c. play and discuss examples
C. other possible modulations
1. discuss the possibilities created by constructing A6 chords on different
scale steps and reinterpreting them as dom7 chords
2. play and discuss examples
4789300
7440114