In music, an augmented sixth () is an interval produced by widening a major sixth by a chromatic semitone. For instance, the interval from C to A is a major sixth, nine semitones wide, and both the intervals from C to A, and from C to A are augmented sixths, spanning ten semitones. Being augmented, it is considered a dissonant interval.
Its inversion is the diminished third, and its enharmonic equivalent is the minor seventh.
In septimal meantone temperament, it is specifically equivalent to the harmonic seventh (a just interval of 7:4). In the tuning system known as equal temperament the augmented sixth is equal to ten semitones and is a dissonant interval.
The augmented sixth is relatively rare. Its most common occurrence is built on the lowered submediant of the prevailing key, in which position the interval assumes a natural tendency to resolve by expanding to an octave built on the dominant tonal degree. In its most common and expected resolution, the lower note of the interval moves downwards by a minor second to the dominant while the upper note, being chromatically inflected, is heard as the leading note of the dominant key, rising naturally by a minor second.
It is the strong tendency to resolve in this way that properly identifies this interval as being an augmented sixth rather than its more common enharmonic equivalent: the minor seventh, which has a tendency to resolve inwardly.
As the augmented sixth is correctly named only in certain specific contexts, the notational distinction between it and the minor seventh is often ignored. Regardless of the true diatonic context, many writers are instead in favor of the more familiar minor seventh – especially in chord notation, in which chords containing it are always labeled seventh chords.
The augmented sixth interval in combination with certain other intervals forms the group of chords known collectively as augmented sixth chords.
The just augmented sixth arises in the extended C major scale between A and F.
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In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone.
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and other types of broken chords (in which the chord tones are not sounded simultaneously) may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note.
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