Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Augmented triads (and V7#5)

No description

John Kruspe

on 22 February 2017

Comments (0)

Please log in to add your comment.

Report abuse

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.
Full transcript