A quick (possible) correction, some excerpts, and a citation:<br>
<br>
1) According to
Marvin and Clendinning's discussion in the "Musician's Guide' textbook
(Norton), Calcott's treatise does discuss the three national favors of
augmented sixth chords, but does not attribute the geographical
designations to any localized practices. See p. 500 of the first
edition, or p. 551 of ed. 2, and you'll see that the names are hardly
the product of research. To quote the text <br>
<br>
"The chords were named according to Calcott's perception of the
national character of the Italians ('elegance'), French
('feebleness'??!),and Germans ('strength')." <br>
<br>
I must admit that I
haven't read Calcott's treatise. It may be that he does refer to
national styles at some point. So, please forgive me if I'm speaking out
of turn. <br>
<br>
2) Regarding the 'strange' augmented sixth chord that started this
thread: Scriabin uses such a chord in at least a few early works.<br>
<ul><li>It
occurs in his op. 1 (1885). Measures 52-53 produce an odd case, where a
sonority comprised of the tones Ab, C, E, and Gb functions like a
dominant seventh on Ab (though the augmented sixth between Gb and E
resolves properly). <br>
</li><li>See also m. 16 of op. 16 no. 1 (1895). Here, it really functions like an augmented sixth. <br></li><li>See
also mm. 30-32 of his op. 8 no. 10 (1894). There, you'll hear the
sonority 'inverted' with a diminished 3rd above the bass. The local key
is Ab, and the tones are (D, Ab, C, and Fb). </li><li>Finally, see op. 23 (1898), mvt. IV, mm. 32-33. Here, the sonority is also 'inverted' the same way as above.<br></li></ul>
When
the harmony functions as it 'should' (i.e., leading to V), I like to
think of it at the major-mode equivalent of the German (with 'mi'
instead of 'me'). <br>
<br>
I believe you'll find references to this harmony as a 'Russian
augmented sixth' in Bettsylyn Dunn Goldwire's (DMA) nearly impossible-to-find dissertation. If I'm
not mistaken, Rimsky-Korsakov used it before Scriabin did (but don't tell
you-know-who). Here's the citation:<br>
<br>
<p class="MsoNormal" style="margin-left:0.5in">Goldwire,
Bettsylynn Dunn. 1984. Harmonic Evolution in the Piano Poems of Alexander
Scriabin. D.M.A. thesis, The University of Texas at Austin.</p>
<p class="MsoNormal" style="margin-left:0.5in"><br></p>
<p class="MsoNormal" style="margin-left:.5in">Hope this is helpful.</p>
<br><br><div class="gmail_quote">On Sat, Nov 19, 2011 at 7:58 PM, Stephen Jablonsky <span dir="ltr"><<a href="mailto:jablonsky@optimum.net">jablonsky@optimum.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div style="word-wrap:break-word">In
the music of such late Romantics as Cesar Franck we occasionally see a
half diminished chord, usually viių/V, that has its third lowered in the
first inversion or even root position. This is just like the German
augmented 6th chord but it is half-diminished, not diminished. I was
wondering if there is a nationality associated with this phenomenon. We
have the Italian, German, and French versions of augmented sixths chords
but I know of no name for this chord. I am, therefore, suggesting for
lack of better appellation that we call this chord the Belgian augmented
6th in honor of Franck. A nice example of such a chord is found in the
first movement of his Symphony in Dm (p. 17 in the Kalmus score).<div><br></div><div><br><div>
<span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-align:auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-size:14px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-size:14px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><div style="word-wrap:break-word">
<div>Prof. Stephen Jablonsky, Ph.D.</div><div>Music Department Chair</div><div>The City College of New York</div><div>160 Convent Avenue S-72</div><div>New York NY 10031</div><div><a href="tel:%28212%29%20650-7663" value="+12126507663" target="_blank">(212) 650-7663</a></div>
</div></span></span><br></span></span></span><br></span>
</div>
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<br></blockquote></div><br><br clear="all"><br>-- <br>Keith Salley<br>Coordinator of Music Theory<br>the Shenandoah Conservatory<br>Shenandoah University<br>Winchester, VA<br><br><br><div class="gmail_quote">On Sat, Nov 19, 2011 at 7:58 PM, Stephen Jablonsky <span dir="ltr"><<a href="mailto:jablonsky@optimum.net">jablonsky@optimum.net</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div style="word-wrap:break-word">In the music of such late Romantics as Cesar Franck we occasionally see a half diminished chord, usually viių/V, that has its third lowered in the first inversion or even root position. This is just like the German augmented 6th chord but it is half-diminished, not diminished. I was wondering if there is a nationality associated with this phenomenon. We have the Italian, German, and French versions of augmented sixths chords but I know of no name for this chord. I am, therefore, suggesting for lack of better appellation that we call this chord the Belgian augmented 6th in honor of Franck. A nice example of such a chord is found in the first movement of his Symphony in Dm (p. 17 in the Kalmus score).<div>
<br></div><div><br><div>
<span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-align:auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Garamond;font-size:18px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-size:14px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-size:14px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px"><div style="word-wrap:break-word">
<div>Prof. Stephen Jablonsky, Ph.D.</div><div>Music Department Chair</div><div>The City College of New York</div><div>160 Convent Avenue S-72</div><div>New York NY 10031</div><div><a href="tel:%28212%29%20650-7663" value="+12126507663" target="_blank">(212) 650-7663</a></div>
</div></span></span><br></span></span></span><br></span>
</div>
<br></div></div><br>_______________________________________________<br>
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<br></blockquote></div><br><br clear="all"><br>-- <br>Keith Salley<br>Coordinator of Music Theory<br>the Shenandoah Conservatory<br>Shenandoah University<br>Winchester, VA<br><br>