Sixte ajoutée

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Sixte ajoutée (French "added sixth"), short for Accord de la sixte ajoutée , also known as the subdominant fifth chord (Sigle: S 5 6 ), is the name introduced by Jean-Philippe Rameau for the major sixth step added to a triad . According to Rameau, the sixth ajoutée chord is a (compositional) subdominant . The characteristic dissonance gradually dissolves upwards with a simultaneous fourth case in the foundation. In the following example, according to Rameau, the tone d is to be regarded as sixte ajoutée, which gradually increases to the e the C major tonic resolves:

Resolution of a sixte-ajoutée chord over a fifth ascent (fourth case). In Rameau's sense, the note d 'in the second chord is the added major sixth (sixth ajoutée), the root note of the chord is f.

The opposite pole to subdominants and their specific chord resolution are, according to Rameau, dominants. A chord is called a dominant, which is characterized by the characteristic dissonance of the seventh, which gradually dissolves downwards with a simultaneous fifth fall in the foundation. Rameau even demands that sevenths that do not sound real should be included in the corresponding connections. The next note example shows a cadence which, according to Rameau, would have to be interpreted as a sequence of dominants: foundation a with added seventh g , foundation d with seventh c , "tonic dominant" with foundation g and an added seventh f as well as a concluding tonic c :

VI-II-VI fifth case sequence with cadence. In Rameau's sense, d 'in the second chord is the root note of a minor minor seventh chord with a third in the bass (dfac with bass note f). The c is the seventh of the chord, which has to be prepared (ie already present in the preceding chord in the same part) and which gradually dissolves down into the b '. In functional theory, on the other hand, the tone d 'is regarded as the sixte ajoutée.

In contrast to Rameau's interpretation, in functional theory the sound dfac of the cadence (or the minor seventh chord of the second degree) is numbered as a subdominant with an added sixth or sixth ajoutée ( S 5 6 ).

The discrepancy between Rameauscher's interpretation and the functional-theoretical interpretation becomes obvious when one considers that in the second example the c of the second chord is dissonant, prepared and gradually resolved into the b downwards, while the functional designation Sixte ajoutée suggests that neither was preparing nor itself resolving d is the actual dissonance of the chord that was added to the F major chord. The sound fdac (read from bottom to top) can be found in both note examples : Whether this sound is a subdominant with sixth ajoutée (basic position: facd ) or a dominant with seventh (basic position: dfac ) in the sense of Rameau can only be determined through the resolution or determine via the context.

literature

  • Jean-Philippe Rameau : Nouveau Système de musique théorique , Paris 1726
  • Jean-Baptiste le Rond d'Alembert : Systematic introduction to musical typesetting according to the tenets of Mr. Rameau. Translated from the French and supplemented with notes by Friedr. Wilh. Marpurg , Leipzig 1757

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