C and Abm exhibit a D 65b3 I NB V 65b3 Fr ID: 327369
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C and Am exhibit a DIATONIC-MEDIANT RELATIONSHIP. $ Ex. 2) C: I ! III (=V/vi) ! VI (= I of A)¥I (C E G) and V/VI (E G# B) have an ÒEÓ common tone, and exhibit CHR.-MED. RELATIONSHIP.¥The KEYS of C and A exhibit a C C and Abm exhibit a D 65b3 ! I (N.B.: V! 65b3= Fr¡3 chord of I, could also be labeled ÒV¡! 65Ó).4.2.1You can add a seventh, esp. to a Vb5 chord, which makes it a Fr+6 chord in inversion.4.2.2Adding b5 to minor chords changes them to diminished triads or a half-diminished seventh chords.This would be a form a mixture, and doesnÕt seem to be used much. However, it still can work:$Ex. 1) [Major key]: vi¡6 ! ii¯7 ! V7 ! I.5. Linear Chromaticism 2:¥AUGMENTED SIXTH CHORDS are chromatically-altered dominant-function chords, and hence can beused as applied chords of any M/m triad, incl. I. (We know this already; see my ÒAugmented SixthsÓ handout.)6. Linear Chromaticism 3: Ger+6/V ! I. If the Ger+6th/V were used functionally, you would expectit to move towards V, but instead, it moves right back to I, which means it is being used decoratively.¥A better analysis of the above progression would be: I (C.T.+6) I, because this shows the decorative,non-functional nature of the C.T. chord, and makes it clear that I is the ÒmainÓ chord. (ÒC.T.Ger+6Ó also possible.) (C.T.¡7 ofÉ) th, 11th11th stays put(Òdo-doÓ)11th usually in sop; like4-3 susp. w/o the 311th replaces 3rd ! 7