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Augmented triads (and V7#5)

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John Kruspe

on 22 February 2017

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Transcript of Augmented triads (and V7#5)

augmented triads and V7#5
G-B-D# = augmented triad (I#5) though the first bar doesn't start that way:
the D# is a chromatic passing note from the (understood) inner voice D natural.
Beethoven: Minuet in G
O Canada
Puccini - La Boheme: Che gelida manina
Edward Johnson
(Mischa Elman)
Review: Augmented triads - most common situation
Beethoven: Symphony #9, 3rd movement
V7#5 is very similar to the augmented triad but richer: a byproduct of the added dissonance of the V7 is a new x6 situation, Eb to C#, both of which have a very powerful urge to resolve.
Schubert: 'Unfinished' Symphony 2nd movement
c#: i
c.t.o7 in c#
= V7 in D
? editor asleep at the switch...
x triad creates modulation to F+
back to D! C# now, not Db
V7 of D = x6 of c#
C# to Db, later back to c#, D, E
An augmented triad is unstable by nature,
because it doesn't contain a Perfect 5th.
So that augmented 5th is always
WANTING TO MOVE and create
a more stable sound: a major or minor triad.
Usually that augmented 5th results from
adding a non-chord tone to a stable triad,
as in this example:
An augmented 5th is sometimes used instead of a perfect 5th in a dominant 7th chord: adding it makes the NEED TO MOVE
that much more intense, because
BOTH the 7th AND the new x5th
AND the leading note
are all fighting to resolve!
Normal situation: the 7th and leading note want to resolve.
The 5th (G) usually falls to doh, and it does that here,
in this very common situation:
the tenor leading note actually drops to the C, and we perceive that the alto G is taking over the resolution.
Raising the 5th to a #5 means that
BOTH the 7th AND the 5th WANT TO
- AND therefore MUST -
resolve to the 3rd of the tonic chord:
you have to DOUBLE THE 3rd of I !!!
G# acts as a chromatic passing note from the G natural in the V7 chord.
And now - to make your life a little more complicated
(but so much more interesting!)

Because the augmented triad is made up of
it (like the o7 chord) can easily
cause a modulation to different keys
by respelling 1 or 2 notes, as in these examples:
In our original augmented triad,
C is now B#, which means that in root position
the chord is E-G#-B#, which means that
E is the root and therefore the 'new' V#5
belongs to A major!
In our original augmented triad,
G# is now Ab, which means that in root position
the chord is Ab-C-E, which means that
Ab is the root and therefore the 'new' V7#5
belongs to Db major!
(Notice that 'sharp' 5 means 'raised' 5 - the E isn't E#, but E natural, because we're in a flat key.)
Notice too btw that the 3 keys we're talking about
- F (IV of C), A and Db - are all separated by +3rds.
A Dream is a wish your heart makes
Listen for
'when you're fast asleep'
E major: I (B) I#5 (B#) resolve to IV (C#)
and...listen for the V13
when the melody ends
'mi - doh' 'come true'
(V13 - I = mi-doh)
Root position is most common,
but 1st inversion is often found as well.
In that case, the I6 chord is labelled as shown.
harmonizing with augmented triads: supply one for each 'x'

Think of each group of 4 meows as a 'bar'.
Grouped in 4 'bar' phrases.
Phrase 1: I-V; phrase 2: answers with V-I.
Phrase 1 bar 3 last meow (meow #12) = chromatic passing note (doh-di-re).
Phrase 2 bar 3 last meow = V#5 passing note (re-ri-mi).
(melody in C major for both moves would be: C-C#-D, then D-D#-E)
and now - something to add to your enjoyment - a
containing x triads (at the x marks *)
Try a RNA, then copy the outer parts and try
adding the inner voices.
1. Sing these with syllables.
2. Play them on the piano - get to know the SOUND of them, not just what they LOOK like.
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