Exercise 1

1. Again, the chord is more coherent if you listen to a whole sequence of aug. 6^th chords, leading onto a cadence. Often, they resolve onto the dominant chord (V) or onto the tonic chord, second inversion (see above). Nevertheless, in this following example, they are used purely as non-functional chords; there only to enhance and enrich the harmonies and to create a progressive bass line.

The above sequence is also very chromatic. We hear some diminished chords and one dominant 7^th in its second inversion here too. Try and analyse some of the chords.

Listen to this work – the Lacrimosa from the Requiem Mass by Mozart.

To help you along, here are some points:

1. The key of the work is D minor but has tonicised to F minor for a few bars.
2. The notes of the augmented 6th interval are D^♭ to B natural. The rest of the notes together with those two create a German 6^th.