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Chopin

October 18, 2021 By Aron Bernstein 11 Comments

Weekly Music Theory Challenge 10/18/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

This is the end of Chopin’s powerful Nocturne in C minor, Op. 48, No. 1 The excerpt begins with him shaping up to have a typical authentic cadence, but it’s shattered when we get to the red rectangle. What is the harmony there, and where does it lead us? Hint: think about how this chord should be spelled, and notice how it’s actually spelled!

Listen to Audio: Chopin Nocturne in C minor, Op. 48, No. 1

Reply to post your answer, and check back on Friday, October 22 to see if you’re right!

ANSWER for 10/18/21

Chopin has taken the German augmented sixth chord in C minor and reinterpreted it as the dominant of the Neapolitan key (bII). Below at left is a typical authentic cadence preceded by a German 6th; the F sharp in the bass resolves up to G (FI up to SO in solfege) as it should. But at right Chopin has respelled that F sharp in the bass as G flat. Now the chord is no longer a German 6th, but a plain old Ab dominant seventh in third inversion, resolving to D flat Major in first inversion (N6 or bII6).

Listen to Audio

This reinterpretation is possible because a German 6th is enharmonic with a dominant seventh chord. Until you see how they’re spelled–or hear how they resolve differently–they both sound the same! Chopin’s reinterpretation of the German 6th creates a wonderfully jarring deceptive cadence, taking us to the remote world of the Neapolitan before heading back home.

Want to Learn More?

With Breaking Barlines you learn music theory the right way: fun, holistic, and with a personal touch! Have a look at the complete Breaking Barlines Course! Then sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. New lessons are always being added, so stay tuned!

Filed Under: music theory challenge Tagged With: breakingbarlines, Chopin, chords, classicalmusic, harmony, music, musiceducation, musiclessons, musictheory, musicvideo, popmusic

May 17, 2021 By Aron Bernstein 12 Comments

Weekly Music Theory Challenge 5/17/21

Show off your music theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

Here is the end of Chopin’s Prelude in G minor, Opus 28 No. 22:

Listen to Audio

What is the name of the chord circled in red? Hint: look at how the chord is spelled!

Check back on Friday, May 21st for the answer!

ANSWER for 5/17/21

German Augmented 6th Chord (also, German 6th, Ger+6)

The German sixth is a type of augmented sixth chord, most often used as a chromatic approach to the dominant (V). In the Chopin prelude, it’s followed by the cadential 6/4 chord (I 6/4), then V, and finally i.

The German 6th sounds exactly like a dominant 7th chord, but it’s spelled with an augmented 6th, instead of a minor 7th.

The augmented 6th resolves outward to an octave. While Italian or French 6th chords can resolve directly to V, the German 6th typically has to go to cadential 6/4 first, avoiding parallel 5ths.
In the above prelude, Chopin writes this German 6th a bit unconventionally, placing the 6th in the bass. But the chord still resolves as it should, to cadential 6/4.

Want to Learn More?

I have an entire series of video lessons on chords in the Chord Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons in the Chromatic Harmony Module. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

Filed Under: music theory challenge Tagged With: Chopin, chords, classicalmusic, harmony, music, musiclessons, musictheory

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