Abstract
Traditional tonal theory, in its emphasis on the three ethnic varieties of augmented-sixth chord, proves inefficient in handling other types of augmented-sixth chords frequently found in late nineteenth-century music. The paper reconstructs the theory supporting augmented-sixth chords along more general lines so that unusual treatments can be more adequately explained and analyzed. Some support in this reconstruction is given by nineteenth-century theorists such as Gottfried Weber and Rudolf Louis and Ludwig Thuille. Excerpts from the works of Liszt, Wagner, Richard Strauss, Franck, Schoenberg, and Verdi illustrate some of these unusual treatments. The paper also analyzes Brahms's part song “Im Herbst,” op. 104 no. 5, in which unusual treatments of augmented-sixth chords abound.
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