<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>Eric et al.,</DIV>
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<DIV>To answer your original question, a couple of the keyboard works of Bernardo Storace have augmented-sixth chords in them. You can find these in the Corpus of Early Keyboard Music vol. 7. The "Passagagli" [sic] no. 11 has several of what we would call the Italian (spelled Ab-C-F#), and the "Passagagli" no. 13 has what we would call the French (spelled G-B-C#-E#) in m. 351.</DIV>
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<DIV>Best,</DIV>
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<DIV>Kyle Adams</DIV>
<DIV>Assistant Professor of Music Theory</DIV>
<DIV>Indiana University<BR></DIV>
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<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> Eric Knechtges <eric.t.knechtges@gmail.com><BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> smt-talk@societymusictheory.org<BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Thu, August 26, 2010 11:16:59 AM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: [Smt-talk] Quarter-comma meantone and augmented sixth chords<BR></FONT><BR>Thank you for those of you who have responded already. Just to clarify why I was asking:<BR><BR>A number of just intonation zealots have remarked that a QCM tuning of a German augmented sixth chord is a fairly close approximation of overtones 4 through 7 in the harmonic series... and some sources go so far as to say that composers actually *intended* that quality of sound for the Ger+6, distinct from the enharmonic dominant seventh.<BR><BR>I find this line of thinking suspect, since I'm not sure that there was much historical overlap between
QCM and the German sixth. I can believe it might have been intended in Gesualdo, given his improvisation and experimentation on Vicentino's microtonal harpsichords... but I'm not sure about other composers.<BR><BR>Eric Knechtges, DM<BR>Assistant Professor, Coordinator of Composition/Theory<BR>Northern Kentucky University<BR></DIV></DIV></div><br>
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