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Augmented Sixth Chords, As Digested By A Jazz Musician. Tonal Harmony TutorialToday we’re going to talk about this chord:

Nowadays we see this chord as a subV/V, but in the Classical period this chord was treated using a very different perspective. Composers back then, saw this chord as an augmented sixth chord.

Watch the entire lesson here

Although these two points of view are very different, the reason for using this chord was the same back then as it is now: to tonicize the V chord — in what we call: a Half Cadence.

For those of you studying tonal harmony, I think this will clarify how, and why, this chord works, and how to solve those challenging tonal Harmony worksheets that your teacher always seems to be giving you.

For jazz musicians this is just a subV/V. When you play it on the piano, it’s clearly a dominant chord. And there’s three variations: the German augmented sixth (with all of the regular notes), the Italian augmented sixth (which has no 5th), and the crazy French augmented sixth version (with a b5).

Now, in the classical era, they didn’t see this chord as a dominant chord — made out of the 1 3 5 and b7. Here’s how this chord works for the classical mind…

This concept was developed from the perspective of being in a minor key. It works perfectly fine in a major key, but the augmented sixth chord was conceived from the perspective of being in minor.

So let’s say we’re in the key of C minor.

What’s the V of C? G! Now, what is the best trick to tonicize that G? Well, if we use the Ab (only a half step above G), and an F# (which is the leading tone to G), when we write it down, we have an augmented sixth, which resolves to that G in octaves by contrary motion.

Remember this: the augmented six chord always resolves to the V of the key in octaves (or doubled unison, if we’re using an inversion of the augmented sixth chord).

But an augmented sixth is nothing else than a b7. Ab to F# is the same as Ab to Gb. If we now add the 3rd of the chord, we get an Ab7 dominant chord without the 5th. And this C wants to go to the 3rd of the G chord like this… This is the Italian augmented sixth chord.

If we also add the 5th of the chord (Eb) we get the German augmented sixth. And of course Eb wants to go to a D (the 5th of the G chord)

So now, we have a beautiful tension-release effect. These two notes resolve in contrary motion. By the way, in the Italian sixth we can double the 3rd of the chord — since we don’t have the Eb — and then, one C moves down to the B, and the other moves up to the D.

But what if the Eb is already resolved to the D? That’s the French augmented sixth.

The D is already present in the augmented sixth chord. It doesn’t have to move at all.

So now, when you see a problem like this…

…just think like this:

The Ab wants to move down a half step. So it goes to G, which must be the 5th of the key. And the G is the V in the key of C minor. So we’re in the key of C minor. We’re going to resolve the G’s in octaves. So the top note has to be a leading tone to G (F#). And there’s your augmented sixth (Ab to F#)

And we add the 3rd of the chord (C) which by the way, is always the tonic of the key that we’re in. And to make it a French augmented sixth, we have to add a D — which is the 5th of the G chord — already resolved in the chord. This D is actually the b5 of our Ab chord.

So once you understand the purpose of this chord, and how it works, it’s very easy to solve this problem.

Let’s do another one.

This Eb will move down to D. D is the V in our key, then we’re in the key of G minor. And the other D — an octave above — should be approached by its leading tone (C#)

Then we add the 3rd of the chord, which is our tonic, and since it says that it’s an Italian augmented sixth, we just double it. I’m going to go ahead and put it an octave higher in the upper voice. Now, one G moves down to F#, and the other moves up to A. A nice D chord.

Let’s do a German augmented sixth.

So, F has to move down to E, right? Then, E is the V of our key, which means we’re in A minor. Now we have to add the leading tone to E — which is D#. Now we add the 3rd (A) and the 5th (C). So this chord is the German augmented sixth in the key of A minor, and look: it’s an F7! It just looks weird when we write it down like this, and of course, it resolves to an E chord like this…

And remember, this is just a substitute of the V/V — on the opposite side of our circle. This German augmented sixth, in the key of A minor, is just an F7 that is replacing the B7 — the five of E.

I think it’s super interesting how harmony has its roots in counterpoint. Nowadays we would never write an F7 chord like this but, should we?

If you want to get access to this (and many other) pdf worksheets with all sorts of music related topics, you can join our “Exclusive Access” membership on YouTube here: https://www.youtube.com/channel/UCBCch4Wd-JAuyURvmmA1oyQ/join

And you can check out download Mapping Tonal Harmony Pro which is the app I used to present the video.

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How To Practice Jazz Improvisation in 7 StepsI want to show you one of my favorite exercise to practice improvisation. It’s a 7-step progressive exercise that you can practice every day, no matter what your level is. You can use it as a warm-up, to clean up concepts, do ear training, and memorize songs at the same time .

Watch the entire lesson on how to practice jazz improvisation in 7 steps

Although it’s a 7-step process, you don’t need to do all seven steps every single time. Depending on your level, you can do the first three steps, or just the first one; whatever you want. But I recommend that you always start from step one and progress through the rest every time you do it.

Before you begin practicing, choose a Jazz Standard. I’m going to use “My Foolish Heart“. It’s a ballad with at most two chords per measure (which makes it ideal for this exercise)

Seven steps to practice jazz improvisation

Play the seventh chords broken in eighth notes, in root position. If you’re a piano player, you can play the root on your left hand if you feel like it. Ignoring the tensions in the score. I’m just playing the seventh chords, and break the chords going up

Next, we’re going to use inversions.This time, think of the first note in every chord, as a target note, and create a line out of them. Don’t worry too much about voice leading — it doesn’t have to be perfect from chord to chord. Just see if you can hear the first note — you’ll play — in your head, before you play it.

Alternate the arpeggios up and then down

Start with the arpeggios going down. So, first down and then up

Broken 7th chords with no rules. Play angular lines.All right, this next step might be a bit easier, but it will challenge your ability to take decisions while you improvise. We’re removing the rule of playing the complete seventh chord and also, of going up or down. You can break the chord as you wish.We’re still only drawing notes from the seventh chords. Do not worry about playing all of the notes. Try hearing that first note on each chord as a target note. By the way, if you have Mapping Tonal Harmony Pro, you can use the target notes feature, as a framework, for this step.

Add a chromatic approach from below.We’re still going to be thinking about that first note as a target note, but this time, we’re going to play a chromatic approach, from below, on the downbeat of the chord. So on a Bbmaj7, I’m going to think of the D as my target note (for example). Then I’ll play a C# on the downbeat of measure one, and then play the D, like this… This is a great step to start using notes — that are very dissonant — on top of the chords, and how the tension is released when you play the next note.

Anticipate with an enclosure, diatonic from above + chromatic from belowSo, this is the last step. It’s a bit harder, but if you can get through it, it will change the way you improvise. So, what we’re going to do is: we’re going to play an enclosure — diatonic from above, and chromatic from below — to our target. This is also known as “trapping the note”, but now, we’re going to play the enclosure before the downbeat, and target the note on the downbeat. And when we say diatonic, we mean diatonic to the key that you’re in. So, on a Dm7, we’re approaching the F with a G from above — because G is diatonic to the key of Bb. The challenge here, is that we have to start thinking about — and playing — the next chord, while we’re playing the current chord. Not easy!

Free Play

All right. So, did you do all the steps? Awesome! Did you stop at step one? Well, that’s fine too!But don’t end the exercise here!No matter which step you stopped on, I want you to integrate some Free Play into your playing. Improvise over the entire song again, only this time, loosely using the concepts that you just practiced. And when I say loosely, I mean it! Let your ears guide you. Don’t consciously follow any rules. Think as little as you can. Let it go! I promise you’ll see all these things — that you just practiced — begin to emerge in your playing, without you even having to think about them.