Text: A chord of modern growth, so called because the interval of an extreme or augmented sixth is contained in it, either directly or by inversion. It exists in three principal forms. It will be noticed that this chord occurs on te sixth degree of the minor scale, but like many other chords originally formed of notes in the minor scale, it is as frequently resolved into the major key of the tonic, as into the minor. The dominant chord of G, B natural, D, which is common to both C major and C minor, forms the connection between the resolutions thus derived. Various explanations of the origin of this chord have been suggested. Some consider it merely a chord of 6/3 on the sixth of the minor scale, or the first inversion of the subdominant common chord with the sixth raised. Others look upon it as a chord of 6/3 on the sixth of the major scale, or the first inversion of the subdominant common chord, with the bass-note flattened. These two opinions obtain favor in proportion to the supposed major or minor tonality of the chord. Some authors find a much more complicated solution, namely, that it contains the minor ninth of the Dominant, combined with the major 3rd, 7th, and other notes ofthe fifth above the Dominant. Hence it is called a double-root-chord, and D/G would be given as its derivative in all the above examples. This chord, is sometimes known as the Italian Sixth, the French Sixth or German Sixth depending on the combination of notes. The component notes of these are often converted and form different inversions or positions. Chords of this kind are occasionally met with in the works of Bach and Handel, but were not of frequent occurence at that date. Among modern authors, Spohr makes most use of them, and they form an important ingredient of his flowing chromatic progressions.

See Also: THIRDS; INVERSION; SIXTH

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