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So I created my own version for The Sixth Station, made by Joe Hasiashi.. I believe it sounds almost the same, and I love it 😄 Hope its worth the shot

Instructor: @Monarcheon Students Allowing: 5 Initial Writing Requirement: 16 - 32 bars, piano or harp Special Requirement: Must include 3 of the 4 harmonic functions below Initial Writing Requirement Deadline: April 8th Masterclass No. 3 will the first in a series of two classes on basic harmonic extensions: *Italian Augmented Sixth Chord *French Augmented Sixth Chord *German Augmented Sixth Chord *Neapolitan Sixth Chords Basic Guidelines: Augmented Sixth chords are used, typically as a way to create maximum harmonic tension before resolving to the dominant. The basic way to structure these are to take the dominant of whatever key you happen to be in, and go one half step up above and below it and place it as an interval. Example: D minor -> Dominant: A -> Go up one half step above/below: B-flat, G-sharp. The "type" of augmented sixth chord that results from this is dependent on what other notes you add. If you add the tonic of the tonic key, it becomes an Italian Augmented 6th chord If you add the tonic of the tonic key and the major supertonic of the tonic key, it becomes a French Augmented 6th Chord (my favorite!) If you add the tonic of the tonic key and the minor mediant of the tonic key, it becomes a German Augmented 6th Chord Examples: D minor -> Dominant: A -> Go up one half step above/below: B-flat, G-sharp [D G# Bb] - Italian [D E G# Bb] - French [D F G# Bb] - German Notice that the German chord, if restacked with the Bb on the bottom will sound like a dominant 7th chord. It is NOT a dominant 7th chord. This is very important when analyzing. Remember these augmented sixth chords mostly always resolve to the dominant. You typically use these chords in minor keys, but this is not always necessary. Neapolitan 6th Chords are based on the tonic of minor key, as a way of creating last minute tension before resolving to the tonic or the dominant. The basic structure of these are to take the minor second of the tonic key and create a major triad. Example: E minor -> Tonic: E -> Half step up: F -> Spell chord: [F A C] In classical harmony, these chords are almost always in the first inversion, because it serves as a predominant (iv chord), where the bass moves stepwise up to the dominant. Another way to extend this is to have the Neapolitan Sixth chord, then go to a tonic chord in the second inversion before moving to the dominant.