The Difference Between a German 6th and a Dominant 7th - Music Theory

Music Matters
27 Jun 202215:24
EducationalLearning
32 Likes 10 Comments

TLDRIn this video, Gareth Green explains the key difference between a dominant seventh chord and a German sixth chord, which often confuse people as they sound identical. He outlines how to build each chord, analyzes their function and voice leading resolutions in context, and stresses why the enharmonic difference matters - though they sound the same, dominant sevenths resolve to the tonic while German sixths resolve to the dominant, so their role and direction differs hugely. Ultimately, the context and voice leading betray their distinct identities and purposes, even when played as standalone chords they initially seem indistinguishable.

Takeaways
  • 😀 The video explains the difference between a dominant seventh chord and a German sixth chord, which can sound identical but function differently.
  • 😯 The difference lies in whether the chord contains an F♯ (German sixth) or G♭ (dominant seventh).
  • 🤓 Dominant sevenths typically resolve to the tonic or submediant chord, following voice leading conventions.
  • 😲 German sixths usually resolve to the dominant chord or tonic chord in second inversion before resolving to dominant.
  • 🧐 The different functioning notes (F♯ vs G♭) imply different harmonic contexts and resolutions.
  • 👀 Even though the chords may sound the same, their function and context are very different.
  • 🎹 The video demonstrates how a dominant seventh resolves within D♭ major, while a German sixth resolves within C major.
  • 😮 Enharmonic notes like F♯ and G♭ sound identical but allow different harmonic opportunities.
  • 💡 Understanding the distinction allows composers to modulate and transition between keys.
  • 🎓 The video recommends further music theory resources on the website for learning more about chord progressions.
Q & A
  • What is the difference between a dominant seventh chord and a German sixth chord?

    -The dominant seventh chord contains a flattened seventh scale degree while the German sixth chord contains an augmented sixth interval. Even though they may sound identical, their function and resolution is different based on the key.

  • How is a dominant seventh chord constructed?

    -A dominant seventh chord is constructed by taking the fifth scale degree of a major or minor key and building a major triad above it, then adding a minor seventh.

  • How is a German sixth chord constructed?

    -A German sixth chord is constructed by taking the lowered sixth scale degree in a major key, building an augmented sixth above it, adding the tonic (first scale degree), and then a perfect fifth above the lowered sixth.

  • How does a dominant seventh chord usually resolve?

    -A dominant seventh chord usually resolves to the tonic chord or the submediant chord. The seventh resolves down by step and the third resolves up by step.

  • How does a German sixth chord usually resolve?

    -A German sixth chord usually resolves to the dominant chord or to a tonic chord in second inversion before resolving to the dominant.

  • Why does the notation matter when writing these chords?

    -The notation matters because it indicates the function and resolution of the chord. Using an enharmonic spelling that mismatches the function can lead to incorrect voice leading and harmonic resolution.

  • What opportunities do enharmonic spellings provide when composing?

    -Enharmonic spellings allow composers to transition between keys smoothly or surprise the listener by changing function. A German sixth could resolve to the dominant in a new key by respelling notes enharmonically.

  • What is an enharmonic interval?

    -An enharmonic interval is where two intervals sound the same pitch but are written differently using different note names. For example, an augmented fifth and a minor sixth are enharmonically equivalent.

  • Can a German sixth chord contain diatonic notes from the key signature?

    -No, a German sixth chord contains chromatic notes that are not found in the key signature of the prevailing key. The chord can function in that key but uses notes from outside the key signature.

  • What resources are available to learn more about chord progressions?

    -The video recommends Music Matters advanced theory and Bach chorale courses. Their website www.mmcourses.co.uk contains additional music theory resources.

Outlines
00:00
😊 Introducing the difference between dominant sevenths and German sixths

Paragraph 1 introduces the video's purpose of explaining the difference between dominant seventh chords and German sixth chords. It notes that these two chords sound the same but function differently harmonically. Examples of each chord are provided in the keys of D-flat major and C major.

05:00
😲 How dominant sevenths and German sixths resolve and progress

Paragraph 2 explains the conventional voice leading rules for resolving a dominant seventh chord versus an augmented sixth chord like the German sixth. It notes that dominant sevenths usually resolve to chord I or VI, while German sixths go to chord V or I in second inversion before V. Examples demonstrate these conventional resolutions.

10:03
🤓 Using enharmonic differences functionally

Paragraph 3 summarizes that while dominant sevenths and German sixths may sound identical, their enharmonic spellings imply different harmonic functions. Composers can utilize these enharmonic differences to modulate between keys. The video's purpose of clarifying the distinction between these chord types is recapped.

Mindmap
Keywords
💡Dominant seventh chord
A dominant seventh chord is built on the fifth degree of a major or minor scale. For example, in the key of D-flat major, the fifth degree is A-flat. So a dominant seventh chord in D-flat would consist of the notes A-flat, C, E-flat and G-flat. This video explains how a dominant seventh chord typically resolves to the tonic chord or sometimes the submediant chord in a key.
💡German sixth chord
A German sixth chord is a type of augmented sixth chord, containing the intervals of augmented sixth, perfect fifth and major third above the bass note. This video explains how German sixth chords contain chromatic notes and typically resolve to the dominant chord or sometimes the tonic chord in second inversion in a key.
💡Voice leading
Voice leading refers to the harmonic movement of individual melody lines or voices within a chord progression. This video discusses common voice leading conventions, like the seventh of a dominant seventh chord falling by step and the third rising by step when resolving.
💡Enharmonic
Two notes are enharmonic if they sound the same pitch but are written differently. For example, G-flat and F-sharp are enharmonically equivalent notes. This video explains how enharmonic notes can imply different harmonic functions based on how they resolve.
💡Chromatic chord
A chromatic chord contains notes that are not diatonic to the key. The German sixth chord discussed in this video has notes outside the key of C major, so it would be considered a chromatic chord functioning in C major.
💡Diatonic chord
A diatonic chord contains only notes belonging to the scale of the key. For example, the dominant seventh chord in D-flat major contains only the diatonic notes A-flat, C, E-flat and G-flat from the D-flat major scale.
💡Predominant chord
A predominant chord precedes the dominant chord in a chord progression, building tension before resolution to the tonic. This video explains how German sixth chords are considered predominant chords in a key.
💡Resolving
Resolving refers to the progression of a non-tonic chord to a tonic chord for a sense of harmonic closure. This video looks at conventions for how dominant seventh and German sixth chords resolve to the tonic or dominant chords.
💡Augmented sixth interval
An augmented sixth interval spans nine semitones between notes, six steps above the lower note. German sixth chords contain the dissonant interval of an augmented sixth which resolves inward by semitone.
💡Function
Even when two chords sound the same, their function can differ based on how they resolve in a key. The video explains how the dominant seventh and German sixth chord may sound identical, but function differently harmonically when resolving.
Highlights

Proposed a new neural network architecture called Transformer that relies entirely on attention mechanisms

Transformer model architecture has become ubiquitous in natural language processing

Introduced the concept of multi-head self-attention which allows attending to information from different representation subspaces

Showed that Transformer models outperform recurrent neural networks like LSTMs in machine translation tasks

Demonstrated that attention-based models can be trained substantially faster than RNNs and CNNs

The Transformer architecture has enabled development of large pretrained language models like BERT, GPT-3

Transformer models have advanced the state-of-the-art in many NLP tasks including question answering, summarization

Attention is all you need paper has over 34,000 citations, demonstrating its huge impact in NLP and DL

Introduced a novel way of constructing representations of input sequence using self-attention

Showed that attention-based models can capture long-range dependencies in data more effectively

Enabled parallelization and shorter training times compared to recurrent models like LSTMs

Transformer architecture removes recurrence completely and relies entirely on attention mechanisms

Demonstrated superior performance over RNNs and CNNs on machine translation and other NLP tasks

Catalyzed a surge of research into attention and Transformer models for NLP

Fundamentally changed how NLP models are designed and trained

Transcripts
Rate This

5.0 / 5 (0 votes)

Thanks for rating: