# 32. Augmented Sixth Sonorities

## Creating Augmented Sixths

Each of the following exercises shows a diatonic sixth resolving to octave $\hat5$s. Add accidentals as necessary to make the sixths augmented by raising $\hat4$ and, in major keys only, lowering $\hat6$.

## Creating and Resolving Augmented Sixths

For each of the keys shown below, write an interval progression consisting of an augmented sixth resolving in contrary motion to an octave. The augmented sixth should consist of #$\hat4$ and (b)$\hat6$.

## Identifying Augmented Sixth Chords

Each of the following exercises presents a key and an augmented sixth chord. Identify each chord by writing its name (It6, Fr6, or Ger6) on the line provided.

## Identifying Augmented Sixth Chords (SATB)

Each of the following exercises presents a key and an augmented sixth chord in four voices. Identify each chord by writing its name (It6, Fr6, or Ger6) on the line provided.

## Writing Augmented Sixth Chords

Each of the following exercises presents a key and the name of an augmented sixth chord. Write the appropriate chord on the staff provided.

## Writing Augmented Sixth Chords (SATB)

Each of the following exercises presents a key and the name of an augmented sixth chord. Write the appropriate chord on the staves provided.

## Resolving Augmented Sixth Chords

Each of the following exercises shows an augmented sixth chord in four voices. Complete each progression by filling in the remaining notes in all four voices, following standard voice-leading conventions as closely as possible.

## Substituting Pre-Dominant Chords with Augmented Sixths

For each of the exercises below, first realize the progression in SATB format. Then, rewrite the progression using an augmented sixth instead of the given pre-dominant chord.

## SATB Part-Writing

Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.

### Figured Bass Realization

Write the Roman numerals that correspond with each figured bass note on the lines provided. Then, complete the progression by filling in the upper voices.

### Roman Numeral Realization

Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.

### Melody Harmonization

Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.

## Respelling Ger6 Chords

Ger6 chords are enharmonically equivalent to dominant seventh chords. Each of the following exercises shows a Ger6 in four voices. Respell each chord as a dominant seventh and resolve it to a bII in the given key.

## Analysis

Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions.

Louise Reichardt, 6 Lieder von Novalis (Op. 4), 5. “Noch ein Bergmannslied”

Johanna Kinkel, 6 Lieder (Op. 16), 6. “Klage,” mm. 16-32

Sophia Maria Westenholz, 12 Deutsche Lieder (Op. 4), 4. “Das Grab”

Valentine Chevrier, “Les belles de nuit,” mm. 113-134

Emilie Zumsteeg, 6 Lieder (Op. 4), 1. “Die Kapelle,” mm. 11-19

Gussie Davis, “In the Baggage Coach Ahead,” mm. 25-40