At measure 2 from the [B] section. (starting at 00:18 )
I don't know what chord it is.
The notes are B,D,G, E#. Is this G7 ?
The same chord also appears on the 4th measure with a different inversion.
What is this chord?
The E♯ is really a lower neighbor tone to the prior F♯. (Since it doesn't move back up to the F♯, we can call it an "incomplete" neighbor tone.)
Simultaneously, the F♯ in the left hand moves up by half step to G, creating a German augmented-sixth sonority on the downbeat of this measure.
But it doesn't resolve or function like an augmented sixth; instead, it comes from tonic and resolves straight back to tonic. As such, this harmony is just expanding tonic.
I think we can view this chord in one of two ways:
- First, as a product of voice leading; the "augmented sixth" is simply an accident that's a result of the two F♯s moving in chromatic motion to E♯ and G, respectively.
- Second, as a common-tone augmented sixth chord, with the
B Dthat hold through the tonic chords and into this sonority as the common tones.
The same thing then happens two measures later: the F♯s split into an E♯ and G to prolong tonic, there's just also a C♯ accented passing tone on the downbeat.
Apart from this chord, I just want you to be on the lookout for non-chord tones. I notice in your second measure that you've labeled the chord as "Bm11." This is in some sense true, since the E is the fourth above B, and therefore an 11th. But that E is really a 4–3 suspension held over from the prior measure; the chord is more properly understood as just a regular B-minor triad. So just be sure to account for non-chord tones in your harmonic analyses!
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I think this is a augmented-sixth chord. But I can't understand how a augmented chord resolved to the i (b). – Hyun Yoo Park Feb 28 '19 at 10:24
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What do you mean by this ? can you explain it more easier ? "Second, as a common-tone augmented sixth chord, with the B D that hold through the tonic chords and into this sonority as the common tones." – Hyun Yoo Park Mar 1 '19 at 6:12
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@HyunYooPark I tried to explain it a bit more in your other question. This chord isn't an augmented-sixth chord that functions as a predominant, but rather it's a common-tone augmented-sixth chord that expands tonic. The idea of a common-tone chord is that you can basically have any chord quality as long as it has at least one common tone with the chords that surround it. Here, the augmented-sixth chord has two common tones with the chords surrounding it: B and D. – Richard Mar 1 '19 at 12:04
It looks like an inversion of the augmented fifth/sixth chord
https://en.wikipedia.org/wiki/Augmented_sixth_chord
here called German sixth:
There are three main types of augmented sixth chords, commonly known as the Italian sixth, the French sixth, and the German sixth.
it is derived from vi7:
- re-fa-la-do => fa-la-do-re (inversion of iv7)
- augmented sixth (#6) => fa-la-do-ri
- next inversion: la-do-ri-fa
in b-minor: b-d-e#-g
resolving in this case here into the tonic b-minor
The Italian sixth is enharmonically equivalent to an incomplete dominant seventh. The French sixth (Fr+6 or Fr4 3) is similar to the Italian, but with an additional tone, scale degree 2. The notes of the French sixth chord are all contained within the same whole tone scale, lending a sonority common to French music in the 19th century (especially associated with Impressionist music)
answered Feb 27 '19 at 9:11
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This is not the case. Here it is not a transition from iv to i46 or V. The previous chord is i and the next chord is i too. – coconochao Feb 27 '19 at 14:31
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Firstly, the chord that appears in the 4th measure is not the same chord. It has C# instead of E#.
This is for sure a G7, the notes are there. The only detail is that he chose to notate the F as E#. If there was an F instead, it would be perfectly clear too.
It looks like at this part he uses the Hungarian minor scale, which has a #4 (E# here). Or whatever scale he is using, he wants the first five notes to be B C# D E# F#, and not B C# D F F#, which is inaccurate and confusing for a scale...
Anyway, the chord never stopped being a G7 :)
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1Could it be a German augmented 6th chord? That would explain the E♯, and it would fit into B minor... – user45266 Feb 27 '19 at 18:16
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@user 45266. Yes, it is! That‘s what I‘ ve tried to derive in my answer. – Albrecht Hügli Feb 27 '19 at 19:12
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@AlbrechtHügli I can't say that I can see your answer to this question... – user45266 Feb 28 '19 at 5:10
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@user45266 yes, technically the E# is the augmented 6th, not the 7, but it doesn't approach the dominant F#, so I'm not sure if it could be a German aug 6th. In this case, I think it's ok to label the chord with enharmonic degrees. – coconochao Feb 28 '19 at 12:50
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@coconochao I believe I've heard from somewhere that the Gr+6 is sometimes resolved to the tonic, but I don't remember where I heard that... I agree that G7 is a fine label, though. +1 – user45266 Feb 28 '19 at 18:13
