The bass of the first chord is given. Write its other three voices: two notes on the treble staff (soprano above, alto below) and the tenor on the bass staff. Then write all four voices of the i⁶₄ chord: soprano and alto on the treble staff, tenor and bass on the bass staff. Click a lone note on a staff again to put both voices on it (a unison, shown as one notehead with two stems); click a unison, or one of two different notes, to remove it. Clicking a staff that's full replaces the nearer note. The key signature applies, so a note with no sign follows it. You can also type each chord from the bottom up: tenor, alto and soprano for the first chord, then bass, tenor, alto and soprano for the second, with a space between notes, and b, #, x or n right after a letter when it needs an accidental, then Enter. After a flat, press Space before the next note. If the key signature already flats a note, don't add a flat: a b typed right after it is the note B. The up and down arrows move the last note you placed up or down an octave. Backspace erases the last note.

Every augmented sixth chord has ♭6 in the bass and ♯4 above it. They form the augmented sixth, which spreads out to an octave on 5: ♭6 steps down and ♯4 steps up. Don't double either one. The Italian sixth adds the tonic, doubled; the French sixth adds 1 and 2; the German sixth adds 1 and ♭3. Resolving to i⁶₄ lets ♭3 stay put, which avoids the parallel fifths the German sixth would make going straight to V.

Piano sound: Salamander Grand Piano by Alexander Holm, used under CC BY 3.0 (trimmed and converted to mono).

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