The Italian AUGMENTED 6th [Explained By An Italian]
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- Опубліковано 27 гру 2020
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No, I did not make it up just because I am Italian :) There are also a German and a French chord, and there may or may not be a Swiss and a Dutch chord...
But today we talk about the Italian one - because it's the simplest one.
All the funny 'geographical' names are given to chords that are in the same 'family'. The family is the one of 'augmented 6th chords'
Now if you think the name is scary... I don't blame you.
And worse than that - most explanations of these chords that I was able to find on the internet are quite confusing too.
Come to think of it most explanations of them that I found in books are not much clearer either.
Personally, I had to cross-reference three different books just to have an idea how these chords actually work...
... but you know what? There is a reason why explanations of these chords are confusing.
The reason is that they are trying to explain you all these versions of the chord (Italian, German, French...) at the same time.
So I'm going to do what nobody is doing (what, did you expect me to follow the choir?)
Today I'm explaining you only the Italian chord. And I'm leaving the explanation for the other chords for another day.
This way it's much simpler to understand what this chord is all about ... and you will be able to actually use it in your music - right now.
Deal?
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![The GERMAN Augmented 6th Chord [Plus The Swiss/Dutch Augmented 6th]](http://i.ytimg.com/vi/fP08dlaP3oY/mqdefault.jpg)
![The GERMAN Augmented 6th Chord [Plus The Swiss/Dutch Augmented 6th]](/img/tr.png)
![This Is Why MODES Are So Confusing To Guitar Players [Music Theory]](http://i.ytimg.com/vi/8z_MwotLh1M/mqdefault.jpg)
I knew an augmented Italian once - she was a LOT of fun!
What! A strap-on?
Fully expect you to get german citizenship for the next 6th chord
Unfortunately, there's no Canadian augmented 6th; that's where he lives, IIRC. (I guess the Canadian augmented 6th would have an extra A. 8-) )
"There's no Canadian augmented 6th"
Canadians: "Sorry!"
Interesting . . . I've always thought of this as the tritone substitution of the secondary dominant of the V chord (G7).
That’s how I think of it (and the German 6th) too.
Me too. It’s really cool to see how all these jazz concepts have parallels in classical theory. And the classical theory helps explain *why* the substitution works (voice leading).
@@modalmixture yeah, it’s amazing how closely intertwined they are and what you can do with those ideas.
In a future video I'll comment on this too ;-)
i think it all depends on where the notes are resolving to. But at the end of the day, i also see it as a tritone sub :)))
It also sounds really nice to play the cadential 6-4 (C/G) after the augmented sixth, then resolve it to the V7.
One chord is fine. Two chords is pushing it. Three chords and you're into jazz.
"Rock is playing 3 chords in front of 1000 people. Jazz is playing 1000 chords in front of 3 people."
@@christopherheckman7957 Hey, what about bluegrass and flamenco?
@@christopherheckman7957 ... and that's the reason I love both rock and jazz!
@@LafayetteLeSaint I love that you think of those two together because I do too! 🔥
This is the best explanation I'Ve heard of this outside of a classroom. Thank you.
just a reference...
Ab Bb C Db Eb F G
Ab C Eb | Ab
Ab C E | Ab+
Ab Cb Ebb | Abdim
Ab C Eb G | AbM7
Ab C Eb Gb | Ab7
Ab C Eb F | Ab6
Ab C Eb F# | Ab+6
I thought you were getting cybernetic implants at first, then I realised it was not that kind of augmented italian
HAHAHA
Regarding geographic names not being about the actual origin of some musical element, I am pretty sure it is the quite same with the seven modes of the major scale, named after greek regions.
Bravo my friend!!! This was a perfect explanation.
I think you have an endless library of music theory in your head and these videos are a guided tour. Thank you!!!
Great lesson, thanks again !!
Hey, maybe a deconstruction of one of J.S. Bach's violin partitas or concertos? Or better yet, how to create one.
Beethoven's Piano Sonata in F# Major begins with an Italian augmented 6th chord.
Questa variante che fantastico! Grz mille. Thank youu.
Very clear explanation as always. Great option to go out of key. Love the sound.
The video title was autotranslated into my language by google: "the italian who augments the sixth"
lmao
LOL
german?
@@morlais3786 correct :)
zum Glück lernen wir Englisch, jetzt wissen wir nämlich was gemeint ist wenn zum Beispiel "Gitarrenwaage" steht
Another nickname for Tommaso would then be "The Sixth Augmenter."
I remember this lesson. They all contain a root, flat sixth, and then a 2nd or flat 3rd
Great explanation. Looking forward to the next one. Thanks!
I'm going to pamper and abuse my 8% French ancestry by looking up the French Augmented Sixth Chord and then come back here later and learn it right.
A few days ago famous bluegrass guitarist, Tony Rice died. I understand from other sources Tony put some jazz into his playing. Could or would you do a video on how (and maybe why) he did this?
Love you and the videos.
Good Day Tommaso! as I continue my sojourn of music appreciation and key modulation and their relationship between major chords and their relative minor chords. I stumble on your video of "Harmonic Major Chords,” and this video-“the Itl+6. ”Furthermore, when I superimposed the Harmonic Major chord (7th chords) progression onto their diatonic harmonic minor (7th chords) chord progressions I noticed they formed extended 9 chords.
For example; in the key of A Major I got extended 7th, 9th, 11th, and 13th chords, which led me to this discovery-that when I write out the notes of a 13th chord, I can extrapolate four 7th chords and one Triad chord; for example, if i write out the notes of the 13th chord for f# natural minor-I can extrapolate the:
i, III7, v7, VII7, and the ii° chords
This discovery with extended diatonic chords has opened up a wormhole of cool jazz and RnB voice-leading possibilities. Can you please cover or explain why this is possible and give examples how a composer or song writer can use this to his or her advantage. Thanks.
3:26
Otra explicación que tiene bastante sentido, es ver al acorde Fm6 como la versión negativa de un G7.
Eso explicaría porqué ambos acordes resuelven tan bien a un C.
En armonía negativa, los acordes dominantes, se convierten en acordes menor 6 (o m7b5, dependiendo la inversión que quiera dársele).
Thanks for the informative video. As a German, I will wait for the next videos :-D
haha you found the perfect title for this video :D Thanks for the lesson!
great vid! in my music theory classes a long time ago they would only use piano to show examples of concepts like the augmented 6th chords. it always bothered me bc i knew i would have applied it so much more in my writing if i could apply it to guitar. i aced the tests but most of the concepts we covered have left my brain unfortunately.
Awesome 👌🏾
I love your videos!
I have a suggested theme for you sir, and I come to you because I KNOW you read your comments. Perhaps you could do a video on Medieval Bardic music?
Oh yeah. I've been waiting for this one
I wish you had this video 3 months ago! Exactly as you said...even my music theory professor taught this in such a convoluted way I had to find 4 or 5 other sources just to wrap my head around what was going on...
Best explanation I had of +6 chords yet. Thanks so much Thomas!
Best explanation that I've seen, too.
Make a video
How to use and where to use the Major 6th ,minor6 th and dom 6 th plz do a video
Great video, co could we in more jazz terms say that this IT+6 Chords works simmilar to the V/V cadence (D7 to G7) but with D7 being Ab7 as tritone substitution? I'm no expert just wondering, thanks!
That’s definitely one way (correct) way to look at it, that’s even better with the GE+6 chord. You can use both chords in jazz and they have a pretty common jazz explanation, but they’re original from classical, where there is no jazz explanation.
@@carbonmonoxide5052 thanks, so it's just a different way of looking at it.
@@skafiiphantom Yes but no. What defines the IT+6 and GE+6 chords is how they’re used. The GE+6 of Ab (Ab7 enharmonically) generally resolves to C/G, which goes to G(7) and back to C. This is done because Ab7 to G7 is hard to voicelead without parallel fifths, and if you just make it an IT+6 (so Ab7no5), you can go straight to the dominant chord instead of the inverted tonic.
In a way, we are using different words to describe the same thing, but that’s because the context they add is important enough to warrant a distinction.
Someone else brought up the tritone substitution; he'll mention that in a future video.
Great stuff, as always. When watching this I had a lightbulb moment - correct my thinking if I am wrong, but it looks to me like this IT6+ is the same (enharmonic, however you "should" call it) as a tritone substitution of a secondary dominant chord? It resolves to G chord, secondary dominant is D7 and tritone sub is Ab7, which is pretty much your IT6+ chord. Having a secondary dominant and tritone substitution background it makes more sense to me explaining it this way, since we all tend to apply the logics we are more familiar with, even though sometimes it's not "by the book of a music theory" :)
Yes, that is one way to put it. The It+6 is based a European baroque/and classical naming, where intervals are more important than chords. In a jazz setting people who think of it as a substitution for a D7, but more likely the lead sheet would just have a Ab7 symbol and leave it at that.
Oh, and one more thing, the It+6 only has 3 notes, never the fifth. In a jazz setting adding notes like a b9 or #11 might be acceptable, were in a classical setting it is always as the video describes. Even the double C notes in the other chords are always there. These chords usually pass by very quickly, not like in pop music or jazz. It's more like having 4 independent melodies that just happen to form what we might call a chord progression in modern terms.
He mentioned that he'll discuss that in a future video.
Love this guy!
Hello internet!!!🤩
There needs to be a roundtable of all these youtube musicians and their perspectives!!! Adam Neely, Charles Cornell, David Bruce, 8-Bit, Nahre Sol, TwoSet, Davie504, Ben Levin, June Lee, David Bennett, Adam Tan, Rick Beato, MusicTheoryforGuitar, and for all musicians that are killing it in the youtube community would be pretty wholesome! Hopefully it can be done when COVID!!!
A subtle difference, but the Devil is in the details. Merry Christmas and a happy new year 🎉🎉🎉
Now that we know the chords have nothing to do with French, Italian and German, maybe an easier filing system is in order? I'd place the three together to memorise their differences. I'm not a guitarist, but create chords often from moving chord notes incrementally a semitone up or down one or two at a time. If it doesn't sound the way I want it, I try something else.
The 'theory' though is good to know, to instantly re-create the same progression, just as some know chord progressions. Decades ago, a young friend asked me why I always end on the tonic. Now, I try to find something unusual - if possible, perhaps even a key change on the last note?
Salve Tommaso, anzitutto complimenti per queste (audio)video-lezioni. Ho notato che qui ed altrove ci sono molti interessanti video su come costruire progressioni di accordi, eventualmente partendo da come inserire specifici accordi in un contesto, o da come sostituire un accordo in una progressione standard ottenendone una nuova. Ma per progressione di accordi si intende prevalentemente l'unità minima (di solito 4 accordi più eventuali di passaggio etc.) che porta dalla tonica di nuovo alla tonica (o ad una nuova tonica nel caso della modulazione, che pure è argomento su cui si trova materiale). Ma, usando una metafora linguistica, se questa è per così dire la "sintassi della frase", esiste una "sintassi del periodo"? o sia: come si susseguono ed eventualmente si intrecciano più progressioni di accordi in strutture più complesse? Ho apprezzato ad esempio i tuoi video sulla armonia negativa, immagino che possa essere usata anche per contrapporre ad una progressione in maggiore una in minore (diversa ma derivata dalla prima), creando una struttura che è già qualcosa di più di una progressione di accordi, ma la cosa si può sviluppare ulteriormente? (bene inteso che per "sintassi", immagino tu dirai, non si possono pretendere regole sempre valide ed indipendenti dalla creatività; e anche che un brano può essere complesso anche poggiando su una struttura armonica minima ripetuta). Insomma sarebbe secondo me interessante se tu potessi segnalare, o realizzare, qualcosa su questo argomento, eventualmente anche fuori da youtube. Grazie infinite per il lavoro che fai e di più se hai anche letto fin qui.
It's like adding a bit of spice of the melodic minor scale to it, no?
How about adding a D (Ebb) and playing either an Ab7b5 or D7b5 before the G7 chord. I'll give that a try but the Ab6+ sounds good too - oh, is it 6+ \ 6# or +6\#6?
Did you try singing I Have A Dream, while playing the given example chord progression?
I always thought you were Russian, nice video as always
That F minor works because C is the dominant of F minor, so the chords in Fm work in C because of C and Fm close relationship
These are known as Minor Subdominant substitutions and were used by everyone from Wagner to Kurt Cobain
hi! i have a question:
- so, in the key of C, is Ab7 the only "augmented 6th" chord?
- how about D#7, in which the 7 (or augmented 6th note, C#) resolves up to the note D of the next G7 chord? is D#7 also called an augmented 6th chord?
- also C7, with the Bb note resolving up to B in the next G7 chord, does it count?
thank you!
i'm a guitarist and your channel has been the number one super best source of theory learning for me. thank you a major sharp augmented thousand times!!
ah nevermind, i watched more videos and found out that it's just the Ab7 chord :)
Please do a video on the 42069 progression
Can the IT+6 also be used in minor cadence, if the V chord is major?
That's the intended use, yes
Cool, thanks!
Respect!
What do Italians and guitars have in common? They like to talk with hands.
HAHA
Isn't that the same as a tritonesub of the V of V? Ab7 to G7?
i spotted a typo on your website. let me know when you get this and i'll show you.
Thanks for confusing me even more.
You confused me first time i hear augmented 6th all i know is augmented 5th example C major we go CEG G augmented is G sharp then we have CE Gsharp that is augmented
If I am going to get someone to explain an Italian scale....next lesson, how about a Canadian scale? ;-)
:-)
all nations should get augmented by the 6th!
Is the Italian aug 6 like the neapolitan 6?
Nope. EDIT: here's the video for it: ua-cam.com/video/K8Z6MTonoXE/v-deo.html
No, that’s a major triad (usually in first inversion) built off the lowered second degree of a major scale - for example, Ab/C in the key of G.
In Ab7 the 3 résolve up? I see just C to B .. thanks
In a dominant 7th chord the 3rd resolves up... but this one is an Augmented 6th chord, so the 3rd resolves down.
I heard “the x drizzles to a y” instead of “resolves.” I am now going to say “drizzles” instead of “resolves.” I like it better.
Fo' shizzle
@@MusicTheoryForGuitar my nizzle
That "G" might act a little dominant, but it will always drizzle to the cizzle.
2:07
im so used to minor plagals that i was expecting an Fm/Ab after that F/A
EDIT: that's what he ended up doing, lol
Spaghettipizzamandolino aug 6 😂
so it's basically just a Ab7 in C key :OOOOOOOOOOOO
You're welcome
ma sei italiano?! pensavo fossi ispanico o brasiliano/portoghese
Ma allora sei italiano!
El italiano aumentó 6º
First