The termsixth chord refers to two different kinds ofchord, one inclassical music and the other in modernpopular music.[1][2]
The original meaning of the term is achord infirst inversion, in other words with itsthird in thebass and itsroot asixth above it. This is how the term is still used in classical music today, and in this sense it is called also achord of the sixth.[3]
In modern popular music, a sixth chord is anytriad with an added sixth above the root as achord factor.[4] This was traditionally (and in classical music is still today) called anadded sixth chord ortriad with added sixth[5] sinceJean-Philippe Rameau (sixte ajoutée) in the 18th century. It is not common to designatechord inversions in popular music, so there is no need for a term designating the first inversion of a chord, and so the termsixth chord in popular music is a short way of sayingadded sixth chord. There are three main types of added sixth chords: major sixth, minor sixth and minor flat sixth.
In early music, what is today called asixth chord orfirst inversion in classical music was considered an autonomous harmonic entity with the root named by the bass, while it was later simply considered an inversion of a chord with the bass being the third (not the root) and the root being the sixth (not the bass). A first-inversion C major chord is shown below.
Alternatively, rather than as asix three chord, the note may be analyzed as asuspension orappoggiatura, "firstresolved and later... retained as a part of the chord, no resolution taking place."[6]
The dominant chord's fifth may be substituted by the chord's sixth, analyzed as its thirteenth:[7]
Injazz, what is called asixth chord was traditionally called an "added sixth chord". As the name suggests, this is a triad with an added sixth interval.
The major sixth chord is amajor triad and the additional sixth interval ismajor. For example, a major sixth chord built on C (denoted by C6, or CM6) consists of the notes C, E, G, and the added major sixth A.
These are the same notes as those of an Aminor seventh chord – whether such a chord should be regarded as an added sixth chord or a seventh depends on its context and harmonic function. To explain the analyses as added sixth chords, againstcommon practice period theory,[8] provides the example of the finaltonic chord of some popular music being traditionally analyzable as a "submediantsix-five chord" (added sixth chords by popular terminology), or afirst inversion seventh chord (possibly the dominant of the supertonic V/ii). According to theinterval strengths of the added sixth chord, theroot of the strongest interval of the chord in first inversion (CEGA), the perfect fifth (C–G), is the root (C).
The minor sixth chord (sometimes:minor major sixth, orminor/major sixth) consists of aminor triad with a tone added amajor 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 atetrad with severalenharmonic 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 versusdominant 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 ofdominant-functioning harmonies, will generally indicate whichenharmonic chord is the appropriate notation choice. In some cases, the harmony is ambiguous.
Unlike the major sixth chord which is often substituted for a major triad, the minor sixth is more versatile and plays a number of different harmonic roles due to its identity as aninversion of thehalf-diminished seventh chord. The presence of the perfect fifth interval over the root also means that this voicing is more stable than the half-diminished seventh chord. An extension of the concepts of major and minor to tetrads, referred to asotonality and utonality respectively, considers this chord to be the utonality to thedominant seventh chord.
The minor flat sixth chord is aminor triad and the additional sixth interval isminor, which is referred to as a flat sixth. Thus in C, it contains the notes C, E♭, G, and A♭.
This chord might be notated Cm♭6. It also shares identity as aninversion of themajor seventh chord.
Instances of the sixth chord crop up in popular music towards the end of the 19th century, for example inJohann Strauss II’s "The Blue Danube" waltz.[9]Richard Taruskin sees Strauss’s use of the added sixth chord as the “one stylistic idiosyncrasy… that went from him into the general idiom of European (or European-style) music, and that is the freedom with which the sixth degree of the scale is harmonized.”[10]
The sixth chord was a common feature of the harmony of jazz and popular music during the entire twentieth century. One of the attractions of the chord is its tonal ambiguity. The harmony contains within it aspects that are both major and minor.Kurt Weill’s song "Mack the Knife" from theThreepenny Opera (1928) uses the chord from thestart, resulting in "a sort of bitonality: A minor in the melody, C major in the harmony."[11]
The tromboneriff that opensGlenn Miller’s "Tuxedo Junction" (1940) is a well-known example from theSwing era.[12] Later popular songs that feature sixth chords include:The Beatles' "She Loves You" (1963),[13][14] "Help!" (1965)[15] and "The Fool on the Hill" (1967),[16]Arthur Kent andSylvia Dee's "Bring Me Sunshine" (1968),[17]The Young Rascals' "Groovin'" (1967),Queen's "Bohemian Rhapsody" (1975),[18]Steely Dan's "Bad Sneakers" (1975) andStyx's "Babe" (1979).
The minor flat sixth chord is arpeggiated in the first chord of the dungeon music from the firstLegend of Zelda game.
An unusual use of this chord at the start of a work occurs inBeethoven’sPiano Sonata in E♭ major, Op 31 No. 3 (1802):
According toDenis Matthews, "the most striking moment in the sonata is its opening, where an ambiguous added-sixth chord on thesubdominant resolves itself through a series of halting steps, rhythmically and harmonically, towards thetonic."[19]
In the opening section of his Fantasy-Overture,Romeo and Juliet,Tchaikovsky uses the minor added sixth chord to striking effect:
Debussy frequently used the sixth chord, for example in his pianopreludeGeneral Lavine-Eccentric (1913), whose idiom alludes to the popular idioms ofcakewalk andragtime of the early 1900s. The following passage "is in F major; its seemingpentatonicism (C–D–F–G–A) is found to be the outline of the tonic added sixth chord, plus the G as passing tone…"[20]
Maurice Ravel’s 1920 balletLa Valse, which contains subtle echoes of the late 19th centuryViennese Waltz,[21] incorporates added sixth chords in its harmony:
The timeless, meditative closing bars ofGustav Mahler’s song "Abschied" fromDas Lied von der Erde (1909) fully exploit the expressive power and ambiguity of the sixth chord. "The final sonority, the famous added-sixth chord, is particularly ingenious... because it fuses the two principal keys ofDas Lied (A minor and C major)."[22]
Alban Berg’sViolin Concerto (1935) ends with a "tonic triad of B flat, with addedsixth [that] follows a harmonic progression found frequently in 1930s dance-band arrangements."[23] However, Richard Taruskin points out that Berg's "chord thus created, B flat, D, F, G had an important poetic resonance", as it echoes the ending of Mahler's "Abschied."[24]Stravinsky’sSymphony in Three Movements (1945) "incorporates elements of American popular music, most famously thefinal chord, a Hollywood added-sixth chord of ever there was one."[25] (Stravinsky himself later criticized his choice of the final D♭ sixth chord as ‘commercial.’[26])Messiaen’s "Louange à l’immortalité de Jésus", the final movement of hisQuartet for the End of Time (1941) opens with a meditative theme "played entirely over a6-4 chord withadded sixth"[27]
TheNeapolitan sixth is the first inversion of a major triad built on the flattened supertonic (second degree of the scale) – a Neapolitan sixth in C major, therefore, consists of the notes F, A♭, and D♭.
There are a number ofaugmented sixth chords. Each of them has a major third and augmented sixth above the bass. When these are the only three notes present, the chord is anItalian sixth; when an augmented fourth is added above the bass, the chord is aFrench sixth; while adding a perfect fifth above the bass of an Italian sixth makes it aGerman sixth (the etymology of all these names is unclear). All usually have the♭
(sixth degree of the scale, A♭ in C major, for example) as the bass note – in this case, they tend to resolve to the dominant.
The sixthfactor of achord is sixscale degrees above theroot. Conventionally, the sixth is third in importance to the root,fifth, and third, being anadded tone. It is generally not allowed as the root since that inversion resembles a seventh chord on the sixth rather than an added tone on the original note. Injazz chords and theory, the sixth is required due to it being an added tone.
Thequality of the sixth may be determined by the scale or may be indicated. For example, in a major scale, a diatonic sixth added to the tonic chord will be major (C–E–G–A) while in minor it will be minor (C–E♭–G–A♭).
The sixth isoctave equivalent to thethirteenth. If one could cut out the notes in between the fifth and the thirteenth and then drop the thirteenth down an octave to a sixth, one would have an added sixth chord (C–E–G–B♭–D′–F′–A′ minus B♭–D′–F′ = C–E–G–A).
Media related toSixth chords at Wikimedia Commons
