ABSTRACT
In this chapter I will be surveying what could be called the ‘evolution’ of the augmented sixth. In order to consider whether the concept of evolution is valid when discussing musical style (indeed whether even the notion of progress is valid), let us first review three examples, which, I shall argue, are inter-related at a conceptual level, and yet are most unlikely to be causally linked. These examples prompt a number of questions: to what extent can they be considered ‘evolutionary’ (if one does not lead to another) and to what extent does evolution equate to progress (except on a purely chronological path)? The three extracts are shown in Examples 2.1, 2.2 and 2.3. Simon de Hasprois, <italic>Ma doulce amour</italic> <xref ref-type="fn" rid="fn2_1"> <sup>1</sup> </xref> https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9781315097787/2c2e204e-4698-418e-a418-198ddf7635d6/content/example-2_1.tif"/>
