1407:
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33:
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361:
329:
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139:
1237:. The chord is separated by only a single note from the half-diminished chord, or the "Tristan chord," as well as the German sixth or dominant seventh. Tonal ambiguity is created by the French sixth as it is symmetrical about a tritone, for example, the notes of a French sixth chord built on G are the same as the notes as the chord built on C sharp, up to enharmonic equivalence. Due to this tonal ambiguity, the French sixth is often used in lieu of the triad and carries with it an unresolved and uneasy sound.
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1301:), and accordingly resolving into the tonic. He notes that, "some theorists insist upon resolution not into the tonic but into the dominant triad, and regard them as being erected not on the altered 2nd degree, but on the altered 6th degree in major and on the natural 6th degree in minor", yet calls this view, "fallacious", insisting that a, "chord of the augmented sixth on the 6th degree is nothing else than a
3594:
1169:, other harmonic possibilities of augmented sixth variants and sonorities outside its function as a predominant were explored, exploiting their particular properties. An example of this is through the "reinterpretation" of the harmonic function of a chord: since a chord could simultaneously have more than one
1923:, a virtual minor version of the French sixth chord. Like the typical +6, this enharmonic interpretation gives a resolution irregular for the half-diminished seventh but normal for the augmented sixth, where the two voices at the enharmonic major second converge to a unison or diverge to an octave.
1200:
The French sixth sees a lot of non-functional use in much
Russian music of the late-Romantic period. Due to its construction of two tritones separated by a major third, it has transpositional invariance and is often used to create tonal ambiguity in highly chromatic music of the 19th century. This
1992:
503:
345:
Though each is named after a
European nationality, theorists disagree on their precise origins and have struggled for centuries to define their roots, and fit them into conventional harmonic theory. According to Kostka and Payne, the other two terms are similar to the
1248:, or diminished, scale, as the scale contains two distinct French sixths and thus has similar symmetric properties. This combination can be found ubiquitously in much of Rimsky and Scriabin's music, as well as in some 20th century French works such as
1991:
1713:
From the half-diminished seventh chord as augmented sixth, there exists a factor which, when lowered by a semitone, is equivalent to a diminished seventh chord at the interval one semitone lower than the diminished seventh chord which started the
1989:
1563:
II. Both
Italian and German variants are enharmonically identical to dominant seventh chords. For example, in the key of C, the German sixth chord could be reinterpreted as the applied dominant of D
1990:
1240:
Scriabin also began to add chord extensions to the French sixth, for example, he added a sixth and a ninth to create his 'mystic chord' which is found in his aforementioned
1376:
held that the chord could not be inverted. Seventeenth century instances of the augmented sixth with the sharp note in the bass are generally limited to German sources.
1706:
From the French sixth chord (or minor seventh chord posing as augmented sixth), there exists a factor which, when lowered by semitone, gives a result equivalent to a
1370:" isn't necessarily accurate, but is found in some textbooks, nonetheless. Sometimes, "inverted" augmented sixth chords occur as a product of voice leading.
894:
Other variants of augmented sixth chords can be found in the repertoire, and are sometimes given whimsical geographical names. For example: 4–
2285:. "One may note that the French sixth contains the elements of a whole tone scale commonly associated with French impressionistic composers."
1436:
raised a semitone, making it "doubly diminished". However, this may be used as the derivation of the augmented sixth chord. For example, F–A
2029:
Notable examples include the themes of the slow movements (both in variation form) of the opp. 57 ("Appassionata") and 109 piano sonatas.
32:
2514:
1313:
3458:
617:
In
Classical music, however, it appears in much the same places as the other variants, though perhaps less often because of the
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1340:
364:
36:
3124:
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Augmented sixths as dominants in C major, according to
Tchaikovsky. Notice the early resolution of an inner voice to avoid
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17:
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1636:
The tendency of the interval of the augmented sixth to resolve outwards is therefore explained by the fact that the A
2461:
2319:
Beethoven frequently moves from one form of the chord to another in such a way, sometimes passing through all three.
2941:
2851:
2730:
Hanson, Howard. (1960) Harmonic
Materials of Modern Music, p.356ff. New York: Appleton-Century-Crofts. LOC 58-8138.
2460:
Tschaikovsky, Peter (1900). "XXVII". In
Translated from the German version by Emil Krall and James Liebling (ed.).
1406:
2433:
382:
1823:
version of the German sixth chord. Again like the typical +6, this enharmonic interpretation gives a resolution
2956:
2412:
1224:
1009:
equivalents in the minor mode) leading to a dominant chord. This movement to the dominant is heightened by the
866:. This may be called a doubly-augmented sixth, although in reality it is the fourth that is doubly augmented.
3367:
2966:
2951:
1951:
1848:
1707:
1075:, the chromatic voice leading is more pronounced because of the presence of two chromatically altered notes,
1233:
285:
Although augmented sixth chords are more common in the minor mode, they are also used in the major mode by
1525:); (ii) a Ger equivalent to a dominant seventh chord with (with a fifth); or (iii) a Fr equivalent to the
3195:
1985:
1619:
1572:
1536:
1139:
869:
817:
710:
689:, thereby generating an Italian or French sixth, respectively, and eliminating the perfect fifth between
600:
542:
430:
328:
138:
1054:
This characteristic has led many analysts to compare the voice leading of augmented sixth chords to the
3494:
560:
2921:
1413:
1343:
367:
39:
2981:
2961:
2113:
1642:, being a dissonant note, a diminished fifth above the root (D), and flatted, must fall, whilst the F
1518:
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for the minor seventh but normal for the augmented sixth, where the two voices at the enharmonic
1626:
1579:
1543:
1220:
1146:
876:
824:
717:
645:
when resolving a German sixth chord to the dominant chord. These parallel fifths, referred to as
607:
549:
437:
335:
145:
95:
2297:
Techniques and
Materials of Music: From the Common Practice Period Through the Twentieth Century
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2803:(co-author Mark DeVoto 5th – 1987 ed.). New York and London: W. W. Norton & Company.
2329:
1737:
1380:
1373:
1675:
A tesseract. The diminished seventh chords occupy points on two diagonally opposite corners.
535:, lending a sonority common to French music in the 19th century (especially associated with
3362:
3346:
3180:
2844:
1824:
1726:
1592:
explains the chord of the French sixth chord as being a chromatically altered version of a
1508:
1481:
1428:
In music theory, the double-diminished triad is an archaic concept and term referring to a
1330:
1529:(with a missing fifth), all of which serve in a classical context as a substitute for the
424:
360:
8:
2931:
2926:
1754:
1700:
1336:
1253:
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780:
536:
3548:
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3382:
3336:
2536:
Modernism in
Russian Piano Music: Skriabin, Prokofiev, and Their Russian Contemporaries
1946:
1530:
1485:
1302:
1262:
1229:
1211:
1055:
743:
109:
350:, which, "has no historical authenticity- simply a convenient and traditional label."
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difficulties outlined below. It appears frequently in the works of
Beethoven, and in
592:
526:
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414:
296:
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264:
243:
235:
227:
214:
193:
180:
105:
102:
83:
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2005:
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1388:
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1122:
729:
564:
532:
448:
113:
67:
1695:
From the German sixth chord, lower any factor by a semitone so that the result is
1358:
Augmented sixth chords are occasionally used with a different chord member in the
1117:
In most occasions, the augmented-sixth chords precede either the dominant, or the
419:. This is the only augmented sixth chord comprising just three distinct notes; in
3613:
3583:
3563:
3328:
3200:
3144:
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2837:
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1741:
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1526:
1384:
1245:
1157:
642:
169:
156:
71:
1387:. At the end of the second measure, the augmented sixth is inverted to create a
116:), the three most common types of augmented sixth chords are usually called the
3568:
3531:
3468:
3463:
3303:
3298:
3205:
3009:
2996:
2574:
A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler
2105:
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2010:
1937:
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302:
286:
203:
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3318:
3290:
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3159:
3154:
3114:
2913:
2875:
2860:
2791:
2670:
A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice
2425:
2365:
2314:
2187:
1941:
1932:
1860:
1722:
1593:
1589:
1522:
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1429:
1363:
1258:
1126:
1118:
958:
772:
622:
253:
199:
87:
79:
2168:
2131:
1863:). Its interval of minor seventh (between root and seventh degree (i.e.: C–B
1671:
313:
There are three main types of augmented sixth chords, commonly known as the
3510:
3422:
3276:
3149:
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3119:
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1961:
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2466:(English translation ed.). Leipzig: P. Jurgenson. pp. 106, 108.
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1856:
1820:
1729:
1609:
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1190:
990:
779:
ensures that, in its voice leading, each pair of voices moves either by
531:. The notes of the French sixth chord are all contained within the same
3427:
3271:
3251:
3014:
1699:(i.e.: possesses no half steps). The result is a French sixth chord or
1454:–C is a doubly diminished triad. This is enharmonically equivalent to G
1181:), its function could be reinterpreted mid-phrase. This heightens both
1173:
with different functions (i.e., both predominant as a German sixth and
1072:
1002:
978:
804:
do not move during the resolution of the German sixth to the cadential
249:
2606:
Satyendra, Ramon. "Analyzing the Unity within Contrast: Chick Corea's
3412:
3035:
2479:
Ears Wide Open Online | Deconstructing Rimsky-Korsakov's Scheherazade
1661:
1359:
1165:
In the late Romantic period and other musical traditions, especially
970:
378:
75:
3453:
3280:
3185:
2354:
Harmony and Composition: For the Student and the Potential Composer
2210:
Offers a detailed explanation of augmented sixth chords as well as
1758:
1689:
1664:, outlines the relationships between the augmented sixth chords in
1010:
202:, the chord is followed directly or indirectly by some form of the
2688:
2686:
1553:
All variants of augmented sixth chords are closely related to the
248:
is why the interval is spelled as an augmented sixth, rather than
3256:
3190:
2331:
Harmonic Relations: A Practical Textbook for the Study of Harmony
2256:, third edition (S.l.: Holt, Rinehart, and Wilson, 1979): p.355.
1954:
that transitions to a French sixth in the key of A minor (F–A–B–D
1748:
2299:(seventh ed.). Belmont, CA: Thomson Schirmer. p. 165.
2233:
2231:
2229:
539:), though they also make frequent appearances in Russian music.
447:
The Italian sixth is enharmonically equivalent to an incomplete
3479:
2683:
2672:(Oxford and New York: Oxford University Press, 2011), pg. 106.
1836:
1832:
1740:
by diminished seventh chords and subsuming all 12 notes of the
1362:. Since there is no consensus among theorists that they are in
1125:. The augmented sixths can be treated as chromatically altered
2713:
2711:
1960:, in red below). The upper voice continues upward with a long
2721:, v.2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.
2226:
1665:
783:
and avoids parallel motion altogether. In minor modes, both
164:
The augmented sixth interval is typically between the sixth
90:, and became a distinctive part of the musical style of the
2708:
1651:
1608:. The German sixth is explained as a chromatically altered
1432:, or three note chord, which, already being minor, has its
1166:
2295:
Benjamin, Thomas; Horvit, Michael; Nelson, Robert (2008).
1316:. In m. 352, an Italian sixth chord built on scale degree
523:) is similar to the Italian, but with an additional tone,
2829:
1625:
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1578:
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1412:
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1342:
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1145:
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944:
Such anomalies usually have alternative interpretations.
875:
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606:
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334:
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144:
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38:
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3593:
1843:
Half-diminished seventh as virtual augmented sixth chord
2079:
2067:
1656:
The following "curious chromatic sequence", graphed by
1692:. The result is equivalently to a German sixth chord.
27:
Chord that contains the interval of an augmented sixth
1517:
2. The augmented sixth chord can either be (i) an It
2294:
1855:
of the German sixth chord (it is its inversion as a
1308:
The example below shows the last nine measures from
584:) is also like the Italian, but with an added tone,
159:
normally resolves outwards by semitone to an octave.
655:composers. There are two ways they can be avoided:
2186:. Vol. 2 (2 ed.). Englewood Cliffs, NJ:
1244:tone poem. The chord is usually combined with the
49:A German sixth chord on the last beat of m. 96 in
2752:Benward, Bruce, and Marilyn Nadine Saker (2008).
1504:, is the Italian sixth chord that resolves to G.
1403:); these two voices resolve inward to an octave.
1197:with the juxtaposition of remotely related keys.
3605:
2407:, third edition (New York: McGraw Hill): p.384.
2275:Revisiting Music Theory: a Guide to the Practice
2100:
1276:. He described the augmented sixth chords to be
1219:), but is most notable in Russian works such as
1071:, the leading-tone of V, in both chords. In the
2807:
2237:
2096:
2094:
2056:, Vol. II, p.105. Eighth edition. McGraw Hill.
1761:(between the root and seventh degree (i.e.: C–B
2515:"Gaspard de la nuit: III. Scarbo, piano score"
1749:Minor seventh as virtual augmented sixth chord
1201:use actually began in Germany with its use by
402:iv) is derived from iv with an altered fourth
3495:
2845:
2264:. Original with all uppercase Roman numerals.
1905:). Rearranging and transposing, this gives A
1710:possibly posing as a virtual augmented sixth.
1703:possibly posing as a virtual augmented sixth.
942:Japanese sixth, Blackadder, or Ikisugi chord.
2812:(13th ed.). St. Petersburg: A. Büttner.
2643:Die Grundsätze der musicalischen Komposition
2459:
2091:
1944:, the first vertical sonority in his opera,
1795:). Rearranging and transposing, this gives A
1521:to a dominant seventh chord (with a missing
1391:or tenth between the bass and the soprano (C
1272:considered the augmented sixth chords to be
2645:(in German). Leipzig: Breitkopf und Härtel.
1887:) can be written as an augmented sixth (C–E
1507:Classical harmonic theory would notate the
636:
131:
3502:
3488:
2852:
2838:
2403:Kostka, Stefan, and Dorothy Payne (1995),
2052:Benward, Bruce and Saker, Marilyn (2009).
1648:– being chromatically raised – must rise.
1305:degression into the key of the dominant".
2455:
2453:
2418:
2334:. Eugene, Oregon: Resource Publications.
2048:
2046:
232:have resolved to the fifth scale degree,
2621:Engaging Music: Essays in Music Analysis
2555:
1670:
1652:Relationship between the different types
488:
2777:
2640:
2634:
2351:
2144:
2085:
2073:
1736:of three tesseracts joined at opposite
1047:); essentially, these two notes act as
756:intensification of V, or as the second
240:. This tendency to resolve outwards to
14:
3606:
2798:
2782:. Vol. 2 (1st ed.). London:
2463:Guide to the Practica Study of Harmony
2450:
2181:
2043:
965:, augmented sixth chords had the same
3483:
2833:
2623:. New York: Oxford University Press.
2512:
2497:
2424:
840:3 can be enharmonically respelled as
391:, begins with an Italian sixth chord.
2754:Music in Theory and Practice, vol. 2
2692:Ouseley, Frederick. A. Gore (1868).
2655:Ouseley, Frederick. A. Gore (1868).
2322:
952:
853:, allowing it to resolve upwards to
2696:, pg. 137, Oxford, Clarendon Press.
2659:, pg. 138, Oxford, Clarendon Press.
1725:of the above complete the cycle in
559:This chord has the same notes as a
493:A French sixth chord in Schubert's
24:
2808:Rimsky-Korsakov, Nikolai (1924) .
2771:
2112:(2 ed.). San Diego, Toronto:
1132:
1058:V of V because of the presence of
25:
3630:
2817:
2778:Andrews, Herbert Kennedy (1950).
2743:, pg. 138ff, Boston, B. F. Wood.
2223:Kostka & Payne (1995), p.385.
1423:
781:oblique motion or contrary motion
633:though it functions differently.
3592:
3509:
3218:
2719:Materials and Structure of Music
2593:Ernst Friedrich Richter (1912).
2434:W. W. Norton & Company, Inc.
2184:Materials and Structure of Music
2147:Harmonic Practice in Tonal Music
1987:
1926:
1602:
1366:in their normal form, the word "
1323:
1295:
1108:
1095:
1082:
1065:
1041:
1028:
1015:
860:
847:
798:
785:
702:
683:
675:
667:
651:, were occasionally accepted by
591:
525:
413:
353:
295:
276:
263:
242:
234:
226:
213:
192:
185:, and the raised fourth degree,
179:
2746:
2733:
2724:
2699:
2662:
2649:
2613:
2600:
2587:
2576:, pp. 92–94. Farnham: Ashgate.
2566:
2549:
2528:
2506:
2491:
2470:
2397:
2372:
2345:
2288:
2267:
2023:
1511:as an augmented sixth chord on
1314:Piano Sonata in A major, D. 959
940:–C–E–G#), sometimes called the
570:
484:
396:The Italian sixth (It or It or
86:, was further developed in the
2756:, p.233. Boston: McGraw-Hill.
2556:Rousseau, Jean Jaques (1826).
2243:
2217:
2175:
2138:
1757:may also have its interval of
1288:with a lowered second degree (
889:
641:It is more difficult to avoid
13:
1:
2810:Practical Treatise on Harmony
2534:Roberts, Peter Deane (1993).
2360:(Australia). pp. 94–95.
2036:
1849:half-diminished seventh chord
1708:half-diminished seventh chord
1353:
977:(typically, an alteration of
918:) is called by one source an
2054:Music in Theory and Practice
1622:
1575:
1539:
1409:
1339:
1234:Prometheus: The Poem of Fire
1142:
872:
820:
713:
625:. The German sixth chord is
603:
575:The German sixth (Ger or Ger
545:
433:
363:
331:
141:
35:
7:
1999:
1616:but with the root omitted.
1021:from above and below (from
947:
742:, functionally either as a
728:The chord can resolve to a
101:Conventionally used with a
10:
3635:
2942:Dominant seventh flat five
2859:
2741:Harmony: A Course of Study
2705:Ouseley (1868), pg. 143ff.
1950:, can be interpreted as a
1930:
1379:The excerpt below is from
561:dominant seventh flat five
514:The French sixth (Fr or Fr
3590:
3517:
3446:
3395:
3355:
3327:
3289:
3237:
3227:
3216:
3173:
3087:
3049:
2995:
2912:
2874:
2867:
2500:Debussy and the Octatonic
2386:(in Japanese). 2019-11-15
2114:Harcourt Brace Jovanovich
2110:Harmony and Voice Leading
1519:enharmonically equivalent
1442:–C is a minor triad, so F
1286:diminished seventh chords
771:, in turn, resolves to a
627:enharmonically equivalent
563:chord and is in fact the
53:'s "Binks' Waltz" (1905).
2739:Chadwick, G. W. (1922).
2717:Christ, William (1966).
2610:", p.55. Cited in Stein.
2432:(5 ed.). New York:
2273:Blatter, Alfred (2007).
2182:Christ, William (1973).
2149:(1 ed.). New York:
2145:Gauldin, Robert (1997).
2016:
1682:diminished seventh chord
637:Avoiding parallel fifths
308:
132:Augmented sixth interval
3459:Chord names and symbols
2799:Piston, Walter (1941).
2784:Oxford University Press
2641:Sechter, Simon (1853).
2619:Stein, Deborah (2005).
2597:, p.94. Theodore Baker.
2559:Dictionnaire de Musique
2513:Ravel, Maurice (1908).
2380:"Blackadder Chord (en)"
1952:half-diminished seventh
1627:download the audio file
1580:download the audio file
1544:download the audio file
1414:download the audio file
1344:download the audio file
1274:altered dominant chords
1185:by making possible the
1147:download the audio file
877:download the audio file
825:download the audio file
718:download the audio file
608:download the audio file
550:download the audio file
438:download the audio file
377:The second movement of
368:download the audio file
336:download the audio file
146:download the audio file
82:has its origins in the
40:download the audio file
3579:Polymodal chromaticism
3559:Diatonic and chromatic
3342:Secondary leading-tone
2428:; Mark DeVoto (1987).
2352:Burnard, Alex (1950).
2328:Carl McKinley (2011).
1970:to A). Note that the D
1676:
1660:as a four-dimensional
1209:(eg. the prelude from
631:dominant seventh chord
511:
499:, #5: "Am Feierabend"
3527:Augmented sixth chord
2694:A Treatise on Harmony
2657:A Treatise on Harmony
2562:. Paris Emler Fréres.
2498:Forte, Allen (1991).
1674:
1191:remotely related keys
492:
423:, the tonic pitch is
64:augmented sixth chord
3347:Secondary supertonic
2572:Ellis, Mark (2010).
2238:Rimsky-Korsakov 1924
2190:. pp. 141–171.
2153:. pp. 422–438.
2116:. pp. 478–483.
1982:instead of up to E:
1284:and of dominant and
1160:in the last example.
155:The interval of the
74:, usually above its
2668:Tymoczko, Dimitri.
1859:, rather than as a
1755:minor seventh chord
1701:minor seventh chord
1333:for the dominant.
1171:enharmonic spelling
1101:, rather than just
673:can move to either
537:Impressionist music
496:Die schöne Müllerin
3549:Chromatic fantasia
3418:Chord-scale system
3337:Secondary dominant
2780:The Oxford Harmony
1976:resolves down to D
1947:Tristan und Isolde
1779:) rewritten as an
1677:
1531:secondary dominant
1509:tritone substitute
1482:tritone substitute
1466:–C, an incomplete
1212:Tristan und Ysolde
1056:secondary dominant
512:
18:French sixth chord
3601:
3600:
3554:Chromatic mediant
3477:
3476:
3391:
3390:
3309:Chromatic mediant
3214:
3213:
3165:Viennese trichord
2762:978-0-07-310188-0
2678:978-0-19-533667-2
2595:Manual of Harmony
2582:978-0-7546-6385-0
2306:978-0-495-18977-0
2283:978-0-415-97440-0
2088:, pp. 46–52.
2076:, pp. 45–46.
1993:
1835:or diverge to an
1631:
1584:
1548:
1418:
1348:
1221:Rimsky-Korsakov's
1151:
975:predominant chord
967:harmonic function
953:Standard function
881:
829:
722:
612:
554:
442:
421:four-part writing
383:Piano Sonata in F
372:
340:
150:
44:
16:(Redirected from
3626:
3596:
3574:Neapolitan chord
3537:Chromatic fourth
3504:
3497:
3490:
3481:
3480:
3235:
3234:
3222:
3030:
3029:
2987:Harmonic seventh
2957:Diminished major
2872:
2871:
2854:
2847:
2840:
2831:
2830:
2824:Augmented sixths
2813:
2804:
2795:
2765:
2750:
2744:
2737:
2731:
2728:
2722:
2715:
2706:
2703:
2697:
2690:
2681:
2666:
2660:
2653:
2647:
2646:
2638:
2632:
2617:
2611:
2604:
2598:
2591:
2585:
2570:
2564:
2563:
2553:
2547:
2532:
2526:
2525:
2519:
2510:
2504:
2503:
2495:
2489:
2488:
2487:
2486:
2474:
2468:
2467:
2457:
2448:
2447:
2422:
2416:
2401:
2395:
2394:
2392:
2391:
2376:
2370:
2369:
2349:
2343:
2326:
2320:
2318:
2292:
2286:
2271:
2265:
2247:
2241:
2235:
2224:
2221:
2215:
2212:Neapolitan sixth
2209:
2179:
2173:
2172:
2142:
2136:
2135:
2098:
2089:
2083:
2077:
2071:
2065:
2050:
2030:
2027:
2006:Neapolitan chord
1995:
1994:
1981:
1980:
1975:
1974:
1969:
1968:
1959:
1958:
1922:
1921:
1916:
1915:
1910:
1909:
1904:
1903:
1898:
1897:
1892:
1891:
1886:
1885:
1880:
1879:
1874:
1873:
1868:
1867:
1818:
1817:
1812:
1811:
1806:
1805:
1800:
1799:
1794:
1793:
1788:
1787:
1778:
1777:
1772:
1771:
1766:
1765:
1680:Starting with a
1647:
1646:
1641:
1640:
1607:
1606:
1568:
1567:
1562:
1561:
1555:applied dominant
1516:
1515:
1503:
1502:
1497:
1496:
1475:
1474:
1468:dominant seventh
1465:
1464:
1459:
1458:
1453:
1452:
1447:
1446:
1441:
1440:
1402:
1401:
1396:
1395:
1389:diminished third
1328:
1327:
1321:
1320:
1300:
1299:
1293:
1292:
1282:diminished triad
1179:dominant seventh
1123:second inversion
1113:
1112:
1106:
1105:
1100:
1099:
1093:
1092:
1087:
1086:
1080:
1079:
1070:
1069:
1063:
1062:
1046:
1045:
1039:
1038:
1033:
1032:
1026:
1025:
1020:
1019:
999:
998:
987:
986:
963:Romantic periods
939:
938:
933:
932:
927:
926:
920:Australian sixth
917:
916:
911:
910:
905:
904:
899:
898:
865:
864:
858:
857:
852:
851:
845:
844:
839:
838:
834:In major modes,
814:
813:
812:
803:
802:
796:
795:
790:
789:
770:
769:
768:
760:. The cadential
754:
753:
752:
739:
738:
737:
707:
706:
700:
699:
694:
693:
688:
687:
680:
679:
672:
671:
665:
664:
596:
595:
589:
588:
583:
582:
565:second inversion
533:whole tone scale
530:
529:
522:
521:
510:
509:
508:
506:
480:
479:
474:
473:
468:
467:
462:
461:
456:
455:
449:dominant seventh
418:
417:
411:
410:
401:
400:
388:
387:
300:
299:
293:
292:
281:
280:
274:
273:
268:
267:
261:
260:
247:
246:
239:
238:
231:
230:
224:
223:
218:
217:
211:
210:
206:, in which both
198:. With standard
197:
196:
190:
189:
184:
183:
177:
176:
21:
3634:
3633:
3629:
3628:
3627:
3625:
3624:
3623:
3604:
3603:
3602:
3597:
3588:
3584:Secondary chord
3564:English cadence
3513:
3508:
3478:
3473:
3442:
3387:
3351:
3323:
3285:
3223:
3210:
3201:Synthetic chord
3169:
3140:Northern lights
3105:Complexe sonore
3083:
3069:Augmented sixth
3057:
3055:
3045:
3027:
3026:
3020:Upper structure
2991:
2977:Altered seventh
2972:Augmented minor
2967:Augmented major
2952:Half-diminished
2908:
2863:
2858:
2820:
2774:
2772:Further reading
2769:
2768:
2751:
2747:
2738:
2734:
2729:
2725:
2716:
2709:
2704:
2700:
2691:
2684:
2667:
2663:
2654:
2650:
2639:
2635:
2618:
2614:
2605:
2601:
2592:
2588:
2571:
2567:
2554:
2550:
2533:
2529:
2517:
2511:
2507:
2496:
2492:
2484:
2482:
2476:
2475:
2471:
2458:
2451:
2444:
2423:
2419:
2402:
2398:
2389:
2387:
2378:
2377:
2373:
2350:
2346:
2327:
2323:
2307:
2293:
2289:
2272:
2268:
2248:
2244:
2236:
2227:
2222:
2218:
2198:
2180:
2176:
2161:
2143:
2139:
2124:
2106:Schachter, Carl
2102:Aldwell, Edward
2099:
2092:
2084:
2080:
2072:
2068:
2051:
2044:
2039:
2034:
2033:
2028:
2024:
2019:
2002:
1997:
1996:
1988:
1978:
1977:
1972:
1971:
1966:
1965:
1956:
1955:
1935:
1929:
1919:
1918:
1913:
1912:
1907:
1906:
1901:
1900:
1895:
1894:
1889:
1888:
1883:
1882:
1877:
1876:
1871:
1870:
1865:
1864:
1845:
1815:
1814:
1809:
1808:
1803:
1802:
1797:
1796:
1791:
1790:
1785:
1784:
1781:augmented sixth
1775:
1774:
1769:
1768:
1763:
1762:
1751:
1742:chromatic scale
1658:Dmitri Tymoczko
1654:
1644:
1643:
1638:
1637:
1634:
1633:
1632:
1630:
1601:
1587:
1586:
1585:
1583:
1565:
1564:
1559:
1558:
1551:
1550:
1549:
1547:
1527:Lydian dominant
1513:
1512:
1500:
1499:
1494:
1493:
1472:
1471:
1462:
1461:
1456:
1455:
1450:
1449:
1444:
1443:
1438:
1437:
1426:
1421:
1420:
1419:
1417:
1399:
1398:
1393:
1392:
1385:Mass in B minor
1356:
1351:
1350:
1349:
1347:
1329:functions as a
1322:
1318:
1317:
1294:
1290:
1289:
1215:and Bruckner's
1193:, and possible
1163:
1162:
1161:
1158:parallel fifths
1154:
1153:
1152:
1150:
1135:
1133:Other functions
1107:
1103:
1102:
1094:
1090:
1089:
1081:
1077:
1076:
1064:
1060:
1059:
1040:
1036:
1035:
1027:
1023:
1022:
1014:
997:
994:
993:
992:
985:
982:
981:
980:
955:
950:
936:
935:
930:
929:
924:
923:
914:
913:
908:
907:
902:
901:
896:
895:
892:
887:
884:
883:
882:
880:
859:
855:
854:
846:
842:
841:
836:
835:
832:
831:
830:
828:
811:
808:
807:
806:
805:
797:
793:
792:
784:
767:
764:
763:
762:
761:
751:
748:
747:
746:
745:
736:
733:
732:
731:
730:
725:
724:
723:
721:
701:
697:
696:
691:
690:
682:
674:
666:
662:
661:
653:common practice
643:parallel fifths
639:
615:
614:
613:
611:
590:
586:
585:
581:
578:
577:
576:
573:
557:
556:
555:
553:
524:
520:
517:
516:
515:
504:
501:
500:
487:
477:
476:
471:
470:
465:
464:
459:
458:
453:
452:
445:
444:
443:
441:
412:
408:
407:
398:
397:
394:
393:
392:
385:
384:
375:
374:
373:
371:
356:
343:
342:
341:
339:
311:
294:
290:
289:
275:
271:
270:
262:
258:
257:
241:
233:
225:
221:
220:
212:
208:
207:
191:
187:
186:
178:
174:
173:
162:
161:
160:
157:augmented sixth
153:
152:
151:
149:
134:
72:augmented sixth
56:
55:
54:
47:
46:
45:
43:
28:
23:
22:
15:
12:
11:
5:
3632:
3622:
3621:
3616:
3599:
3598:
3591:
3589:
3587:
3586:
3581:
3576:
3571:
3569:False relation
3566:
3561:
3556:
3551:
3546:
3545:
3544:
3534:
3532:Borrowed chord
3529:
3524:
3518:
3515:
3514:
3507:
3506:
3499:
3492:
3484:
3475:
3474:
3472:
3471:
3466:
3464:List of chords
3461:
3456:
3450:
3448:
3444:
3443:
3441:
3440:
3435:
3430:
3425:
3420:
3415:
3410:
3405:
3399:
3397:
3393:
3392:
3389:
3388:
3386:
3385:
3380:
3375:
3370:
3365:
3359:
3357:
3353:
3352:
3350:
3349:
3344:
3339:
3333:
3331:
3325:
3324:
3322:
3321:
3316:
3311:
3306:
3301:
3295:
3293:
3287:
3286:
3284:
3283:
3274:
3269:
3264:
3259:
3254:
3249:
3243:
3241:
3232:
3225:
3224:
3217:
3215:
3212:
3211:
3209:
3208:
3203:
3198:
3193:
3188:
3183:
3181:Mixed interval
3177:
3175:
3171:
3170:
3168:
3167:
3162:
3157:
3152:
3147:
3142:
3137:
3132:
3127:
3122:
3117:
3112:
3107:
3102:
3097:
3091:
3089:
3085:
3084:
3082:
3081:
3076:
3071:
3066:
3060:
3058:
3050:
3047:
3046:
3044:
3043:
3038:
3033:
3022:
3017:
3012:
3007:
3001:
2999:
2993:
2992:
2990:
2989:
2984:
2979:
2974:
2969:
2964:
2959:
2954:
2949:
2944:
2939:
2934:
2929:
2924:
2918:
2916:
2910:
2909:
2907:
2906:
2901:
2896:
2891:
2886:
2880:
2878:
2869:
2865:
2864:
2857:
2856:
2849:
2842:
2834:
2828:
2827:
2819:
2818:External links
2816:
2815:
2814:
2805:
2796:
2773:
2770:
2767:
2766:
2745:
2732:
2723:
2707:
2698:
2682:
2661:
2648:
2633:
2612:
2599:
2586:
2565:
2548:
2527:
2505:
2490:
2469:
2449:
2442:
2426:Piston, Walter
2417:
2396:
2371:
2344:
2321:
2305:
2287:
2266:
2242:
2240:, p. 121.
2225:
2216:
2196:
2174:
2159:
2137:
2122:
2090:
2078:
2066:
2041:
2040:
2038:
2035:
2032:
2031:
2021:
2020:
2018:
2015:
2014:
2013:
2011:Acoustic scale
2008:
2001:
1998:
1984:
1938:Richard Wagner
1931:Main article:
1928:
1925:
1844:
1841:
1831:converge to a
1750:
1747:
1746:
1745:
1719:
1711:
1704:
1693:
1653:
1650:
1624:
1621:
1618:
1600:of the scale,
1596:on the second
1577:
1574:
1571:
1541:
1538:
1535:
1480:), which is a
1476:, missing its
1425:
1424:Related chords
1422:
1411:
1408:
1405:
1355:
1352:
1341:
1338:
1335:
1217:third symphony
1155:
1144:
1141:
1138:
1137:
1136:
1134:
1131:
1127:passing chords
1013:resolution to
995:
983:
954:
951:
949:
946:
891:
888:
886:
885:
874:
871:
868:
822:
819:
816:
809:
765:
758:inversion of I
749:
734:
726:
715:
712:
709:
657:
638:
635:
605:
602:
599:
579:
572:
569:
547:
544:
541:
518:
486:
483:
435:
432:
429:
376:
365:
362:
359:
358:
357:
355:
352:
333:
330:
327:
310:
307:
303:parallel minor
250:enharmonically
204:dominant chord
154:
143:
140:
137:
136:
135:
133:
130:
48:
37:
34:
31:
30:
29:
26:
9:
6:
4:
3:
2:
3631:
3620:
3617:
3615:
3612:
3611:
3609:
3595:
3585:
3582:
3580:
3577:
3575:
3572:
3570:
3567:
3565:
3562:
3560:
3557:
3555:
3552:
3550:
3547:
3543:
3540:
3539:
3538:
3535:
3533:
3530:
3528:
3525:
3523:
3522:Altered chord
3520:
3519:
3516:
3512:
3505:
3500:
3498:
3493:
3491:
3486:
3485:
3482:
3470:
3467:
3465:
3462:
3460:
3457:
3455:
3452:
3451:
3449:
3445:
3439:
3436:
3434:
3431:
3429:
3426:
3424:
3421:
3419:
3416:
3414:
3411:
3409:
3406:
3404:
3401:
3400:
3398:
3394:
3384:
3381:
3379:
3376:
3374:
3373:Primary triad
3371:
3369:
3366:
3364:
3361:
3360:
3358:
3354:
3348:
3345:
3343:
3340:
3338:
3335:
3334:
3332:
3330:
3326:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3296:
3294:
3292:
3288:
3282:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3258:
3255:
3253:
3250:
3248:
3245:
3244:
3242:
3240:
3236:
3233:
3231:
3226:
3221:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3178:
3176:
3172:
3166:
3163:
3161:
3158:
3156:
3153:
3151:
3148:
3146:
3143:
3141:
3138:
3136:
3133:
3131:
3128:
3126:
3123:
3121:
3118:
3116:
3113:
3111:
3108:
3106:
3103:
3101:
3098:
3096:
3093:
3092:
3090:
3086:
3080:
3077:
3075:
3072:
3070:
3067:
3065:
3062:
3061:
3059:
3053:
3048:
3042:
3039:
3037:
3034:
3032:
3023:
3021:
3018:
3016:
3013:
3011:
3008:
3006:
3003:
3002:
3000:
2998:
2994:
2988:
2985:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2933:
2930:
2928:
2925:
2923:
2920:
2919:
2917:
2915:
2911:
2905:
2902:
2900:
2897:
2895:
2892:
2890:
2887:
2885:
2882:
2881:
2879:
2877:
2873:
2870:
2866:
2862:
2855:
2850:
2848:
2843:
2841:
2836:
2835:
2832:
2825:
2822:
2821:
2811:
2806:
2802:
2797:
2793:
2789:
2785:
2781:
2776:
2775:
2763:
2759:
2755:
2749:
2742:
2736:
2727:
2720:
2714:
2712:
2702:
2695:
2689:
2687:
2679:
2675:
2671:
2665:
2658:
2652:
2644:
2637:
2630:
2629:0-19-517010-5
2626:
2622:
2616:
2609:
2603:
2596:
2590:
2583:
2579:
2575:
2569:
2561:
2560:
2552:
2545:
2544:0-253-34992-3
2541:
2537:
2531:
2523:
2516:
2509:
2501:
2494:
2481:
2480:
2473:
2465:
2464:
2456:
2454:
2445:
2443:0-393-95480-3
2439:
2436:p. 419.
2435:
2431:
2427:
2421:
2414:
2410:
2406:
2405:Tonal Harmony
2400:
2385:
2381:
2375:
2367:
2363:
2359:
2356:. Melbourne:
2355:
2348:
2341:
2340:9781610975315
2337:
2333:
2332:
2325:
2316:
2312:
2308:
2302:
2298:
2291:
2284:
2280:
2276:
2270:
2263:
2262:0-03-020756-8
2259:
2255:
2254:Tonal Harmony
2251:
2246:
2239:
2234:
2232:
2230:
2220:
2213:
2207:
2203:
2199:
2197:0-13-560342-0
2193:
2189:
2188:Prentice Hall
2185:
2178:
2170:
2166:
2162:
2160:0-393-97074-4
2156:
2152:
2148:
2141:
2133:
2129:
2125:
2123:0-15-531519-6
2119:
2115:
2111:
2107:
2103:
2097:
2095:
2087:
2082:
2075:
2070:
2063:
2062:9780073101880
2059:
2055:
2049:
2047:
2042:
2026:
2022:
2012:
2009:
2007:
2004:
2003:
1983:
1963:
1953:
1949:
1948:
1943:
1942:Tristan chord
1939:
1934:
1933:Tristan chord
1927:Tristan chord
1924:
1862:
1858:
1854:
1850:
1840:
1838:
1834:
1830:
1826:
1822:
1782:
1760:
1759:minor seventh
1756:
1743:
1739:
1735:
1731:
1728:
1724:
1720:
1717:
1712:
1709:
1705:
1702:
1698:
1697:ancohemitonic
1694:
1691:
1687:
1683:
1679:
1678:
1673:
1669:
1667:
1663:
1659:
1649:
1628:
1617:
1615:
1611:
1605:
1599:
1595:
1594:seventh chord
1591:
1590:Simon Sechter
1581:
1570:
1556:
1545:
1534:
1532:
1528:
1524:
1520:
1510:
1505:
1491:
1487:
1483:
1479:
1469:
1435:
1431:
1415:
1404:
1390:
1386:
1382:
1377:
1375:
1371:
1369:
1365:
1364:root position
1361:
1345:
1334:
1332:
1326:
1315:
1311:
1306:
1304:
1298:
1287:
1283:
1279:
1275:
1271:
1267:
1265:
1264:
1260:
1256:
1255:
1251:
1247:
1243:
1238:
1236:
1235:
1231:
1227:
1226:
1222:
1218:
1214:
1213:
1208:
1204:
1198:
1196:
1192:
1188:
1184:
1180:
1176:
1172:
1168:
1159:
1148:
1130:
1128:
1124:
1120:
1115:
1111:
1098:
1085:
1074:
1068:
1057:
1052:
1050:
1049:leading-tones
1044:
1031:
1018:
1012:
1008:
1004:
1000:
988:
976:
972:
971:chromatically
968:
964:
960:
945:
943:
921:
878:
867:
863:
850:
826:
801:
788:
782:
778:
774:
773:root-position
759:
755:
741:
727:
719:
705:
686:
678:
670:
659:
658:
656:
654:
650:
649:
648:Mozart fifths
644:
634:
632:
628:
624:
623:ragtime music
620:
609:
598:
594:
568:
566:
562:
551:
540:
538:
534:
528:
507:
498:
497:
491:
482:
450:
439:
428:
426:
422:
416:
405:
390:
389:major, Op. 78
380:
369:
354:Italian sixth
351:
349:
348:Italian sixth
337:
326:
324:
320:
316:
315:Italian sixth
306:
304:
298:
288:
283:
279:
266:
255:
254:minor seventh
251:
245:
237:
229:
216:
205:
201:
200:voice leading
195:
182:
171:
167:
158:
147:
129:
127:
123:
119:
118:Italian sixth
115:
111:
107:
104:
99:
97:
93:
89:
85:
81:
77:
73:
69:
66:contains the
65:
61:
52:
41:
19:
3619:Chromaticism
3526:
3511:Chromaticism
3277:Leading-tone
3068:
3054: /
3041:Tone cluster
2922:Leading-tone
2809:
2800:
2779:
2753:
2748:
2740:
2735:
2726:
2718:
2701:
2693:
2669:
2664:
2656:
2651:
2642:
2636:
2620:
2615:
2607:
2602:
2594:
2589:
2573:
2568:
2558:
2551:
2535:
2530:
2521:
2508:
2499:
2493:
2483:, retrieved
2478:
2472:
2462:
2429:
2420:
2404:
2399:
2388:. Retrieved
2383:
2374:
2358:Allans Music
2353:
2347:
2330:
2324:
2296:
2290:
2274:
2269:
2253:
2250:Forte, Allen
2245:
2219:
2183:
2177:
2146:
2140:
2109:
2086:Andrews 1950
2081:
2074:Andrews 1950
2069:
2053:
2025:
1962:appoggiatura
1945:
1936:
1846:
1829:major second
1819:, a virtual
1752:
1732:, forming a
1684:, lower any
1655:
1635:
1612:on the same
1588:
1552:
1506:
1427:
1378:
1372:
1357:
1307:
1268:
1261:
1252:
1241:
1239:
1232:
1225:Scheherezade
1223:
1210:
1199:
1187:tonicization
1183:chromaticism
1164:
1116:
1053:
956:
941:
919:
893:
833:
646:
640:
619:contrapuntal
616:
574:
571:German sixth
558:
513:
494:
485:French sixth
446:
404:scale degree
395:
347:
344:
323:German sixth
322:
319:French sixth
318:
314:
312:
284:
163:
126:German sixth
125:
122:French sixth
121:
117:
100:
63:
60:music theory
57:
51:Scott Joplin
3542:Lament bass
3262:Subdominant
3125:Grandmother
2982:Nondominant
2962:Minor-major
2826:in Commons.
2151:W.W. Norton
1723:repetitions
1610:ninth chord
1270:Tchaikovsky
1195:dissonances
890:Other types
777:progression
170:minor scale
103:predominant
84:Renaissance
3608:Categories
3396:Techniques
3383:Substitute
3378:Subsidiary
3314:Neapolitan
3272:Submediant
3252:Supertonic
3025:Dominant 7
3015:Thirteenth
2947:Diminished
2899:Diminished
2485:2023-08-19
2413:0070358745
2390:2021-04-06
2384:SoundQuest
2037:References
1730:note space
1488:to G. Its
1354:Inversions
1331:substitute
1303:modulatory
1278:inversions
1242:Prometheus
1230:Scriabin's
1073:major mode
744:cadential
321:, and the
124:, and the
3413:Chordioid
3329:Secondary
3145:Petrushka
3079:Seven six
3036:Polychord
2904:Suspended
2894:Augmented
2792:223256512
2608:Starlight
2538:, p.136.
2366:220305086
2315:145143714
2277:, p.144.
1853:inversion
1825:irregular
1727:modulo-12
1662:tesseract
1490:inversion
1381:J.S. Bach
1368:inversion
1250:Debussy's
1246:octatonic
1011:semitonal
1005:or their
957:From the
379:Beethoven
287:borrowing
110:resolving
98:periods.
92:Classical
76:bass tone
3454:Arpeggio
3368:Contrast
3304:Borrowed
3299:Approach
3281:Subtonic
3267:Dominant
3239:Diatonic
3230:function
3186:Secundal
3088:Specific
3028:♯
3010:Eleventh
2997:Extended
2937:Dominant
2169:34966355
2132:19029983
2108:(1989).
2000:See also
1979:♮
1973:♯
1967:♯
1957:♯
1920:♯
1914:♭
1908:♭
1902:♯
1896:♭
1890:♭
1884:♭
1878:♭
1872:♭
1866:♭
1816:♯
1810:♭
1804:♭
1798:♭
1792:♯
1786:♭
1776:♭
1770:♭
1764:♭
1734:necklace
1716:sequence
1690:semitone
1668:tuning:
1645:♯
1639:♭
1566:♭
1560:♭
1514:♭
1501:♯
1495:♭
1486:resolves
1473:♭
1463:♭
1457:♭
1451:♭
1445:♯
1439:♭
1400:♭
1394:♯
1374:Rousseau
1319:♭
1310:Schubert
1291:♭
1207:Bruckner
1175:dominant
1104:♯
1091:♯
1078:♭
1061:♯
1037:♯
1024:♭
1007:parallel
973:altered
948:Function
937:♭
931:♯
925:♭
915:♯
909:♭
903:♯
897:♭
856:♮
843:♯
837:♭
794:♭
775:V. This
698:♭
692:♭
663:♭
587:♭
478:♭
472:♭
466:♭
460:♯
454:♭
409:♯
399:♯
386:♯
291:♭
272:♯
259:♭
222:♯
209:♭
188:♯
175:♭
114:dominant
106:function
96:Romantic
68:interval
3319:Passing
3291:Altered
3257:Mediant
3196:Quartal
3191:Tertian
3174:General
3160:Tristan
3155:So What
3115:Elektra
3056:omitted
2914:Seventh
2868:By form
2801:Harmony
2430:Harmony
2214:chords.
1851:is the
1738:corners
1280:of the
1259:Ravel's
969:: as a
961:to the
959:Baroque
906:2; (F–A
567:of II.
469:, C, (E
425:doubled
305:scale.
301:of the
168:of the
112:to the
88:Baroque
78:. This
3614:Chords
3469:Factor
3423:Guitar
3363:Common
3206:Tetrad
3150:Psalms
3135:Mystic
3120:Farben
3100:Bridge
3074:Lydian
2861:Chords
2790:
2760:
2676:
2627:
2580:
2542:
2440:
2411:
2364:
2338:
2313:
2303:
2281:
2260:
2206:257117
2204:
2194:
2167:
2157:
2130:
2120:
2060:
1869:in C–E
1837:octave
1833:unison
1767:in C–E
1721:Three
1686:factor
1598:degree
1533:of V.
1263:Scarbo
1254:Nuages
1203:Wagner
928:7–1–3–
922:, and
695:6 and
317:, the
166:degree
120:, the
70:of an
3447:Other
3438:Slash
3433:Power
3408:Block
3403:Barre
3356:Other
3247:Tonic
3130:Magic
3110:Dream
3095:Alpha
3064:Sixth
3052:Added
3005:Ninth
2932:Minor
2927:Major
2889:Minor
2884:Major
2876:Triad
2522:IMSLP
2518:(PDF)
2017:Notes
1861:chord
1821:minor
1688:by a
1666:12TET
1557:V of
1523:fifth
1484:that
1478:fifth
1430:triad
1177:as a
1119:tonic
740:chord
629:to a
463:V7: A
309:Types
252:as a
80:chord
62:, an
3428:Open
2788:OCLC
2758:ISBN
2674:ISBN
2625:ISBN
2578:ISBN
2540:ISBN
2438:ISBN
2409:ISBN
2362:OCLC
2336:ISBN
2311:OCLC
2301:ISBN
2279:ISBN
2258:ISBN
2202:OCLC
2192:ISBN
2165:OCLC
2155:ISBN
2128:OCLC
2118:ISBN
2058:ISBN
1917:–D–F
1847:The
1789:–G–A
1783:(C–E
1773:–G–B
1753:The
1614:root
1498:–C–F
1434:root
1360:bass
1257:and
1228:and
1205:and
1167:jazz
1088:and
1034:and
934:5 (B
912:–B–D
900:6–7–
791:and
660:The
505:Play
475:,) G
457:VI7=
282:).
269:and
219:and
94:and
3228:By
1940:'s
1857:set
1492:, A
1383:'s
1312:'s
1189:of
1121:in
1051:.
1001:,
815:.
681:or
381:'s
325:.
58:In
3610::
3279:/
2786:.
2710:^
2685:^
2520:.
2452:^
2382:.
2309:.
2252:,
2228:^
2200:.
2163:.
2126:.
2104:;
2093:^
2045:^
1964:(G
1911:–C
1899:–A
1893:–G
1881:–B
1875:–G
1839:.
1813:–F
1807:–E
1801:–C
1569:.
1460:–A
1448:–A
1397:–E
1266:.
1129:.
1114:.
1003:vi
991:IV
989:,
979:ii
708:.
597:.
481:.
451:.
427:.
406:,
172:,
128:.
3503:e
3496:t
3489:v
3031:9
2853:e
2846:t
2839:v
2794:.
2764:.
2680:.
2631:.
2584:.
2546:.
2524:.
2502:.
2446:.
2415:.
2393:.
2368:.
2342:.
2317:.
2208:.
2171:.
2134:.
2064:.
1744:.
1718:.
1629:.
1582:.
1546:.
1470:A
1416:.
1346:.
1149:.
996:5
984:3
879:.
827:.
810:4
766:4
750:4
735:4
720:.
610:.
580:5
552:.
519:3
440:.
370:.
338:.
256:(
148:.
108:(
42:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
