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.BEGIN VERBATIM

Augmented Sixth Chords
.END
.FILL INDENT 6
	It is now clear that chromatic alteration in a chord very often
changes its function.  This will most often be true when the
alteration involves the 1st, 4th, 5th or 7th degree of the scale,
or when it occurs within a phrase rather than at its end.  As stated
before, every judgment must be based on the whole of any particular
context under consideration.
 

	The alterations that go into making chords of the augmented
sixth (A6) give us a special case.  Such chords evolved as separate
entities from the practice of "freezing" the chromatic passing tone
between the 4th and 5th of the scale.  When these chords are used in
their conventional manner and within a single tonality, they give
us an exception to the rule that the 4th of a scale, as a chord tone,
may not be altered without causing a shift of tonics.  The
traditional names for the three most common augmented sixth chords
are as follows:
.BEGIN VERBATIM

Example 52
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.00]:N52X.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 4
 
.FILL INDENT 6
 
	Strictly speaking, they should be indicated thus for a major key such
as ↓_C_↓:
.CENTER
%6⊂⊗⊃L[α%0.03,α%-0.60]:N52Z.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 3
.FILL INDENT 6
It will generally
suffice to refer to them all in the abbreviated manner, A6.  When
they actually are used as augmented sixth chords, they almost always have
primarily contrapuntal significance, the outer voices expanding by
half step movement.
.BEGIN VERBATIM
 
Example 53
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-0.65]:N53X.PLT[HHA,LCS]⊂⊗⊃%1
.SKIP 1
 
.FILL INDENT 6
	However, since they are so often used as a means of tonicizing
new areas (see Example 33), it is usually advisable to make their
presence clear in an analysis.  The augmented sixth interval creates a
situation wherein the dominant tends to be tonicized (Example 53, F%4S%1
leads to G) and at the same time a tonic role for the dominant
is weakened by the effect of presenting its 2nd as flatted (Ab to G).
The actual result is that added strength is given to the %2dominant role%1
of the final "resolution" of the A6 chord, since the flatted note is
most easily taken as the %4F%16 of the original tonic.  Thus, augmented
sixth chords will be said to function as part of a tonic a major 3rd
%2above%1 the %2lower%1 member of the augmented sixth interval (see Example 53).
 

	Because the G6 chord presents the identical acoustical
situation as an ordinary dominant 7th chord (i.e., major 3rd,
minor 3rd, minor 3rd), its enharmonic form will often be used as a
means to move rapidly to a relatively distant tonic.
.BEGIN VERBATIM
 
Example 54
.END
.CENTER
%6⊂⊗⊃L[α%0.03,α%-1.72]:N54X.PLT[HHA,LCS]⊂⊗⊃%1