8,720
edits
Changes
m
→Augmented Chord
Although I call the last 2 examples inversions, they are identical to other root position augmented chords. The distance between each note and those above and below it is always a M3.
C+ C+/E C+/G# or C+ E+ G#+ E---------0--------- E---------0--------- B---1-----1--------- B---1-----1--------- G---1-----1-----1--- G---1-----1-----1--- D---2-----2-----2--- D---2-----2-----2--- A---3-----------3--- A---3-----------3--- E---------------4--- E---------------4---
Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G{{s}} B{{s}}) - C and B{{s}} are enharmonic. Similarly, C+/G{{s}} is the same pitches as G{{s}}+ (G{{s}} B{{s}} D{{s}}{{s}}), D{{s}}{{s}} = E.
| G{{s}} || G{{s}} || G{{s}}
|}
=== Enharmonic Notes and Harmonic Function ===
Two notes are <u>enharmonic</u> if they have the same pitch but are spelled differently. For instance, B{{s}} and C are enharmonic, as are D{{s}}{{s}} and E. It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents. This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music. However, in classical music, the note name often implies more than just a pitch, but a function.
In the above example, the E+ and G+ chords are not diatonic to the key of Am. Writing them as such instead of as inversions of C+ could be construed as a modulation into a different key, and that the E+ or G+ chords were not the III+ chord of A Harmonic minor and will function differently.
{{top}}