Great suggestion! I did a video on augmented chords earlier, but altered chords sound like an interesting topic to research. Thanks for watching! Thanks for your support!
I was iuſt thinking about the ſcale E F G# A B C D# E, which I think is called E double harmonic maioꝛ. If one limiteth ones ſelfe to that ſcale, treating it as a pſeudo key, then the V choꝛd would be a French augmented 6th choꝛd on b2, the F. This maketh me to wonder if we indeed ſhould think of augmented ſixth choꝛds as built on thirds. Becauſe hauing a V choꝛd be a choꝛd baſed on b2 is abſurd. The V choꝛd ſhould be a B7(b5) right? And conſidering thou euen claimeſt here in this video that it came from a phꝛygian half cadence, the minoꝛ iv going to V, that it indeed is a thirds baſed choꝛd. So an Italian augmented ſixth choꝛd in C maioꝛ, Ab C F#, ſhould really iuſt be called an Fm(#1). That's what it is right? But becauſe of the gnarly diminiſhed third ſounding, the interual is inuerted to an augmented ſixth, vſually,, as it is leſſe intenſe of a ſound. Becauſe it really ſeemeth to be a logical leap to baſe moſt choꝛds on thirds, and then claim theſe ones are not baſed on thirds & haue not roots. I mean there are ſixth choꝛd, that are not baſed on thirds like C E G A, where one heareth the C as the root and not A, and it functioneth as a C choꝛd. But conſidering the function of the augmented ſixth choꝛds, it ſeemeth not like vnto a C6, becauſe a C6 hath a root. Were people iuſt afraid of the diminiſhed 3rd interual?
Beautiful explanation
Great stuff. Love the chord roman numerals in the examples to show the whole scope of entering the Augmented Sixth Chords as well as the exits.
great stuff
Thanks,keep up the good work!
these videos are so helpful. I am a begginner composer and this has really helped me learn more about composing.
I'm happy it is helping you. I'm thinking of setting up a patreon and offering composition review/lessons.
Thanks for watching!
Thank u
Wow, that is complicated! Thank you immensely!
You're welcome! Thanks for watching!
Great video! Are you sure you transcribed it right at 11:08?
Thanks for your videos, I'm learning so much from them. Please make one about augmented 5th chords, and other 'bout altered chords.
Great suggestion!
I did a video on augmented chords earlier, but altered chords sound like an interesting topic to research. Thanks for watching! Thanks for your support!
I was iuſt thinking about the ſcale E F G# A B C D# E, which I think is called E double harmonic maioꝛ. If one limiteth ones ſelfe to that ſcale, treating it as a pſeudo key, then the V choꝛd would be a French augmented 6th choꝛd on b2, the F.
This maketh me to wonder if we indeed ſhould think of augmented ſixth choꝛds as built on thirds. Becauſe hauing a V choꝛd be a choꝛd baſed on b2 is abſurd. The V choꝛd ſhould be a B7(b5) right? And conſidering thou euen claimeſt here in this video that it came from a phꝛygian half cadence, the minoꝛ iv going to V, that it indeed is a thirds baſed choꝛd.
So an Italian augmented ſixth choꝛd in C maioꝛ, Ab C F#, ſhould really iuſt be called an Fm(#1). That's what it is right? But becauſe of the gnarly diminiſhed third ſounding, the interual is inuerted to an augmented ſixth, vſually,, as it is leſſe intenſe of a ſound.
Becauſe it really ſeemeth to be a logical leap to baſe moſt choꝛds on thirds, and then claim theſe ones are not baſed on thirds & haue not roots.
I mean there are ſixth choꝛd, that are not baſed on thirds like C E G A, where one heareth the C as the root and not A, and it functioneth as a C choꝛd. But conſidering the function of the augmented ſixth choꝛds, it ſeemeth not like vnto a C6, becauſe a C6 hath a root.
Were people iuſt afraid of the diminiſhed 3rd interual?