Augmented 6 Chords – on b2

Although Augmented 6th chords usually occur with a bass note a half-step above the dominant, they can also occur on the note a half step above the tonic (the b2 scale degree).

In D major, the augmented 6th chords on the b2 scale degree would be as follows:

Resolution of Augmented 6 chords on b2

Augmented 6 chords with the bass note a half step above tonic (b2 scale degree) will resolve to a tonic (I) chord instead of V.

The interval of the augmented 6 will resolve out to the tonic. The other notes will resolve like they do as explained before (in the Summary lesson); they should move to the nearest chord tone in the direction of their alterations or remain the same.

Resolution of the Italian 6 chord

Remember that for the Italian 6, the note a major 3 above the bass will be doubled.

Resolution of the French 6 chord

Resolution of the German 6 chord

Remember t avoid parallel 5ths between the German 6 and its resolution, it must go to another chord in between. In the case of the German on the note a half step above the tonic (b2), this other chord should be another augmented 6 chord.

Example of Augmented 6 chords on b2 scale degree

An example of an Augmented 6 chord on the note a half-step above tonic can be found in “The Girl from Ipanema” by Vincinius DeMoraes and Norman Gimbel.

This song is a bossa nova jazz piece written and released in the mid-1960s.

A copy of a chords only version is shown below along with a recording of Frank Sinatra singing this piece.

The Girl from Ipanema – ms.1-16

The following example shows all chord analyzed with the exception of the Gb7b5 chord in measures 6, 8 and 14.

A dominant 7 chord with a b5 is enharmonic to a French 6 (see below).

The augmented 6th interval in this chord is a Gb to E-natural. This interval will resolve by taking the Gb down to the tonic F and the E-natural up to the tonic F, resolving in the direction of their tendency. Thus, the Gb7b5 will resolve to a tonic harmony (see below).

Therefore, the chord sounds like a French 6 and resolved like a French 6, just built on the b2 scale degree. Thus, we will analyze it as a French 6. (In jazz notation, it will be analyzed as it is here – as a Gb7b5.)

Augmented 6 on b2 compared to Tritone substitution

An Augmented 6 chord on the note a half step above dominant can also be analyzed of as a tritone substitution. Let’s take another look at the Fr6 in The Girl From Ipanema – concentrating on the French 6 chords in measures 6 and 14.

In both cases of the French 6 above, the chord comes in between a ii and a I chord, in the place where a V chord would normally be (a ii-V-I progression).

The progression from the C7 chord to a tritone substitution/French 6 is shown below.

First, we take the C7 and replace it with its tritone sub (a Gb7 chord).
Next, the 5th of the Gb7 is lowered. This chord is still a tritone sub, just an altered one.
Finally, the tritone sub is enharmonically spelled to see the French 6 chord.

Therefore, the Gb7b5 can be thought of as a a tritone substiitution as well as a French 6 on the note a half step above tonic.