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- Minor
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 8 2008 - Minor
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 8 2008 - 6
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008 - Sonic shapes
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008 - Major
Guitar chord diagrams and chord theory. This is the Chord Section of Olav Torvund's Guitar Site.
Modified: Jan 4 2008
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| Previous page: Major | Next page: maj7 |
Added 6 - 6
| Name: 6 |
| C6 | C#m/Db6 | D6 | D#6/Eb6 | E6 | F6 | F#6/Gb6 | G6 | G#6/Ab6 | A6 | Bb6 | B6 |
The 6th chord is a major chord with an added 6th. It is a four note chord, with the notes 1-3-5-6. A C6 will have the notes C-E-G-A. A think of it as typical of Western Swing.
It is interesting to compare the 6th and the m7 chords. If you compare C6 and Am7, you will find that both have the same notes. A C6 in root position has the notes C-E-G-A, while an Am7 in root position has A-C-E-G. The only difference is the sequence. The C6 is the same as Am7 in first inversion, while the Am7 could be a C6 in third inversion. It is sometimes difficult - if not impossible - to say if a chord really is a C6 or an Am7. It depends on the context. But if you play the 50's Cliche progression, how can you tell if it is C-Am-F6-G7 or C-Am-Dm7-G7? But if you cannot tell the difference in sound, the more theoretical aspects of chord labeling is not that interesting. But it is nice to know that you get a two in one here: If you learn the m7, then you also know how to play the 6th in the relative major, or vice versa.
This is taken from Alan W. Pollack's "Notes on "She Loves You"":
On a theoretical basis, that added sixth is called a "free" (in the sense of gratuitous, or non-functional) dissonance. In most tonal music until the twentieth century, any note appearing in a chord that was not part of the chord's root triad was considered a dissonance. As such, it was expected to be well behaved by "resolving", typically stepwise downward, either to a note that *is* part of the current or following chord. The most classic example of this is the way in which the "7" of the V7 chord resolves to the "3" of the I chord:
F ->E D ->C B ->G G ->C C: V ITextbook dissonance treatment would demand one of the following options of our added-sixth chord of G, B, D, E:
- Resolve the 6th down to D as the 5th of the current chord.
- Resolve the 6th down to D as a member of a chord that follows.
- Let what is now the 6th (E) be repeated or sustained in the next chord of which it should be a member. In this case you rationalize added-sixth dissonance as an "anticipation" of the second chord.
By the end of the 19th century, this strict treatment of dissonance broke down even within the so-called classical domain though not without many raised eyebrows; the free 9 and 11 chords of Debussy for example were quite the talk of music theory classes 100 years ago. And if you want to hear a particularly early and lush usage of the added sixth, then check out th ending of Mahler's "Das Lied von der Erde" (1908.)
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| C6 | C#m/Db6 | D6 | D#6/Eb6 | E6 | F6 | F#6/Gb6 | G6 | G#6/Ab6 | A6 | Bb6 | B6 |
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