something characteristic of the comparative softness of the Italian nature in the first chord, the piquancy of the French in the second chord, and the bold decision of the German in the third chord; and, merely fanciful though these characteristics be, if the sound of the notes in any degree accord with the suggestion, this may perhaps help to impress both the chord and its effect upon the memory.

In almost all cases the interval of the augmented 6th is resolved upon an octave, and this octave is either the root or the 5th of a chord. If the octavewhich is the dominant-be the root of the resolving chord, this is of course major; and you will perceive with what ample sonority, with what truly large effect, a half close is approached from one of the chords of the augmented 6th.

b

VIOLIN SONATA, Op. 30.—Beethoven.

Db

If the octave, whereupon the interval of the augmented 6th diverges, be the 5th of the chord, this chord is either minor or major, according to the key of the passage in which the chord of the augmented 6th with its resolution occurs. Observe how stern a grandeur is imparted to a full close in a minor key by its approach from this emphatic harmony.

And, again, notice how unwontedly bright sounds the inversion of the major tonic, when a chord of the augmented 6th precedes it.

SYMPHONY IN B.-Beethoven.

18

www

augmented

6th.

The enharmonic change of the chord of the dominant 7th in the key of B, into the chord of the augmented 6th in the key of bB, gives to the resolution of this latter, in the passage just quoted, that magical effect which amazes at once and delights us with the beautiful affinity yet utter unlikeness of the two keys,-two families of sound, two different climates of tone, may I call them, thus brought into opposition.

Inversion of It is most rare for composers to invert the interval of the augmented 6th by placing the major 3rd of the secondary root below the minor 9th of the primary root, and thus producing the interval of the diminished 3rd.

The very infrequent use of this inversion is accountable by its extreme, nay, let me say its excessive harshness. You may here recall my repeated observation of the different effect of any pianoforte key under different tonal relationship; which, as has more than once been shown, proves that the enharmonic diesis is not merely a technical puzzle resulting from several names of one sound, but that it distinguishes different keys and different harmonies; and proves also that the sensitive ear has the delicate capacity of discriminating the various effects of two notes represented by one pianoforte key. The last inversion of a chord of the dominant 7th in the key of bD having bG in the bass, has the root of the chord A

at the interval of a major 2nd-two semitones-above the bass;

a discord undoubtedly this is, but, rough and rugged though it be, there is a noble frankness in its sound which befits it for hearty, large expression. In the key of C, the diminished 3rd from F to bA-likewise two semitones-has an effect upon the hearer obviously different from that of the same pianoforte keys when sounded with a different context;

here I feel the interval to be narrow, crushed in its character, and full of bitter complaining in its expression. Artists of lower rank, of small experience, or of extravagantly melodramatic aspiration, have written this chord more freely than would warrant what has just been said; with the deference due to such composers, I must still aver that I feel the indiscreet use of so extreme a chord to be more free than welcome. In some few cases, however-so few that they may quickly be numbered, and so remarkable that any musician of moderate memory may point to them all the inversion of the augmented

6th has been employed with exquisite fitness to a most intense expression, and with consequent beauty of effect. Let me instance a passage that has called forth many a comment, from Church musicians especially, a passage wherein this chord occurs with admirable pertinence, in the anthem, "Hear my crying," by John Weldon, a composer of the time of George I.

unto those that fear, unto those that fear Thy name.

After nearly a century and a half-showing that the use of the chord was no more a barbarism of the elder time than an over-refinement of the modernthe same harmony was written, with I think the same expressive purpose, and with the same touching effect, by Mendelssohn in his hymn Hear my Prayer.

On minor

2nd.

Though written but seldom, very seldom in comparison with those we have been considering, the