These distinctive chords are extra widespread than you assume!
Aug. Sixth chords in In style Music

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40 COMMENTS

  1. 8:25 I think you should carefully see what exactly that chord is. Clearly that was a F+ chord, because C# is an augmented fifth above F, well A+ has a E#, not a F natural (a minor 6th above it). You might guessing the D also, which is the Dmin(maj7), but it isn't view as a dominant function either.

  2. There are lots of rock songs that use the #5 AC/DC's Live Wire, The Vaughan Brothers' White Boots, Del Shannon's Runaway, and The Venture's version of Walk Don't Run are four that I can name off the top of my head. Live Wire uses it in a #5, I, #5, 5 turnaound sequence, White Boots uses it in a b7, I, b7, #5, 5 turnaround sequence, and both Runaway and Walk Don't Run use it in -1, b7, #5, 5 verse sequences.

  3. I think you're using the same type of analysis for different types of musical situations, and that's where the error is. indeed in classical music there are the 6th augmented chords with their respective resolutions, but in popular music the analysis of these same chords is wrong. It is not a tritonal substitute as many say, since its objective is not the V degree of tonality, and the #11 is not in the chord. Neither is a chord with the 6th augmented, since saying that and saying 7th minor is the same, and it does not make sense to choose the most elaborate option. Finally, in my opinion, I think you just have to analyze them as VIb7 in the case of a major key, or VI7 in case of a minor key, with their respective extensions.

  4. Ignore the trolls.. the context of this excellent and eloquently explained / illustrated video is that it builds from the previous video where you provide clear description (based in classical theory) of the different types of augmented 6th chords and how they function as pre-dominants in cadential windups / chord substitution – these build on your equally well explained and illustrated (in classical notation then popular chord chart contexts) videos on secondary dominants. Great examples, great level of challenge and thank you for taking the time to create and put this out there (for free!!) – you should make a Udemy course – would be nice to do another video on arranging / orchestrating these concepts with conventions of part writing for different instrument families etc.. anyway, top video and thank you ✨🙏🏻 ✨

  5. This one of the most used chords in minor keys. You are making it more complicated and the terminology and naming of the chords is confusing to me. The chord is as common as the V7 chord in minor keys. Sure the tritone makes it more spicey but it’s not that big of a deal. Spelling that chord differently wont change the obvious dominant sound.

  6. Antiquated? Since when is sound or color irrelevant? So chromatically altered chords and chromaticism is a function (get it?) of people rising or trying to rise above our current cultural dark age. Look so much trouble was gone to just around the time of Bach to create a tonal system where all 12 keys were available at any time and notes outside the key or tonality are available to the knowledgeable composer improviser through chromatic melodic construction and modulation and last but not least chromatically altered harmonies that it's just a pity a waste such a system. Don't be an apologist.

  7. I dont believe augmented 6 is an appropriate way to analyze many of these examples because while they all show the bass resolves down to scale degree 5, the seventh of the chord (as its described in this video, otherwise known as raised scale degree 4) does not resolve up to scale degree 5. raised scale degree leading up to scale degree 5 is integral to the augment 6 chord. Unless this occurs, i tend to think it is more appropriate to think of a seventh chord built upon scale degree 6 as really just an embellished seventh chord built on scale degree 6.