ABSTRACT
The growing harmonic palette of the nineteenth century and the growth of linear chromaticism is inherent in a harmony known as the augmented sixth chord. This pre-dominant harmony approaches the dominant with a double tendency—an upper leading tone and a lower leading tone. This produces the interval of an augmented sixth within the chord, hence, the name. The three varieties of augmented sixth chords are: the Italian, the augmented sixth with the tonic; the French, the augmented sixth with the tonic and supertonic; and the German, the augmented sixth with the tonic and lowered third.
