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Sixth chord AI simulator
(@Sixth chord_simulator)
Hub AI
Sixth chord AI simulator
(@Sixth chord_simulator)
Sixth chord
Sixth chord is the common name for any added tone chord where the extra pitch is a sixth above the root. The term also applies to three-note chords with a sixth and a third above the root, a configuration commonly known as first inversion. In chromatic music, augmented sixth chords are important tools.
15th century music often featured parallel sixths in practices like Fauxbourdon. As figured bass evolved, the figure '6' indicated a three-note structure with a sixth and a third above the bass note. As functional harmony evolved, this became known as the first inversion of a chord.
In the 18th century, Jean-Philippe Rameau diagnosed these chords as sixte ajoutée, because the sixth scale degree had been added to the root, third, and fifth of a normal triad. Rameau's analysis focused on the contrapuntal motion in cadences of the added sixth in subdominant chords. Added tone chords are harmonically ambiguous, as the root can also be heard as the third in the first inversion of a seventh chord.
Common versions of added sixth chords are the major sixth, minor sixth, and minor flat sixth.
The major sixth chord is a diatonic chord where the sixth scale degree is added to the major triad. On a C major chord, the added sixth is an A and the additional sixth interval is major.
The chord symbol is usually C6. Because it is also an A minor seventh chord in first inversion, it is tonally ambiguous. Identifying the root depends on context.
The minor sixth chord (sometimes: minor major sixth, or minor/major sixth) consists of a minor triad with a tone added a major sixth above the root. Thus in C, it contains the notes C, E♭, G, and A.
This chord might be notated Cm6, CmM6, Cmin/maj6, Cmin(maj6), etc. Note that Cm6 has the same notes as F9 with the root omitted, i.e. the notes F (omitted), A, E♭, C, and G. These notes form a tetrad with several enharmonic equivalents: C–E♭–G–A might be written as Cm6, F9, F9 (no root), Am7♭5, B7♭9, A♭Maj7♭9, or Balt. Many jazz chord charts use these chord notations indiscriminately, particularly in the choice of minor sixth versus dominant ninth chords. Thus, in some cases when a Cm6 is indicated, the F9 is in fact a better harmonic choice, i.e. closer to the composer's harmonic intent; or vice versa. Analysis of the movement of the root, in the presence of dominant-functioning harmonies, will generally indicate which enharmonic chord is the appropriate notation choice. In some cases, the harmony is ambiguous.
Sixth chord
Sixth chord is the common name for any added tone chord where the extra pitch is a sixth above the root. The term also applies to three-note chords with a sixth and a third above the root, a configuration commonly known as first inversion. In chromatic music, augmented sixth chords are important tools.
15th century music often featured parallel sixths in practices like Fauxbourdon. As figured bass evolved, the figure '6' indicated a three-note structure with a sixth and a third above the bass note. As functional harmony evolved, this became known as the first inversion of a chord.
In the 18th century, Jean-Philippe Rameau diagnosed these chords as sixte ajoutée, because the sixth scale degree had been added to the root, third, and fifth of a normal triad. Rameau's analysis focused on the contrapuntal motion in cadences of the added sixth in subdominant chords. Added tone chords are harmonically ambiguous, as the root can also be heard as the third in the first inversion of a seventh chord.
Common versions of added sixth chords are the major sixth, minor sixth, and minor flat sixth.
The major sixth chord is a diatonic chord where the sixth scale degree is added to the major triad. On a C major chord, the added sixth is an A and the additional sixth interval is major.
The chord symbol is usually C6. Because it is also an A minor seventh chord in first inversion, it is tonally ambiguous. Identifying the root depends on context.
The minor sixth chord (sometimes: minor major sixth, or minor/major sixth) consists of a minor triad with a tone added a major sixth above the root. Thus in C, it contains the notes C, E♭, G, and A.
This chord might be notated Cm6, CmM6, Cmin/maj6, Cmin(maj6), etc. Note that Cm6 has the same notes as F9 with the root omitted, i.e. the notes F (omitted), A, E♭, C, and G. These notes form a tetrad with several enharmonic equivalents: C–E♭–G–A might be written as Cm6, F9, F9 (no root), Am7♭5, B7♭9, A♭Maj7♭9, or Balt. Many jazz chord charts use these chord notations indiscriminately, particularly in the choice of minor sixth versus dominant ninth chords. Thus, in some cases when a Cm6 is indicated, the F9 is in fact a better harmonic choice, i.e. closer to the composer's harmonic intent; or vice versa. Analysis of the movement of the root, in the presence of dominant-functioning harmonies, will generally indicate which enharmonic chord is the appropriate notation choice. In some cases, the harmony is ambiguous.