983:
720:
838:
666:
394:
182:
801:
1925:
510:
969:
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1524:
202:
449:
336:
255:
146:
141:
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.
925:
856:
follows a harmonic progression found frequently in 1930s dance-band arrangements." 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."
517:
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.
493:
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.”
1341:
Derek B. Scott, Sounds of the metropolis: the nineteenth-century popular music revolution in London, New York, Paris, and Vienna, Publisher: Oxford
University Press, 2008, ISBN 0-19-530946-4, ISBN 978-0-19-530946-1, 304 pages (page
827:
649:
709:
409:. 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 as
382:. Thus, in some cases when a Cm is indicated, the F 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
828:
650:
818:(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 of
1039:
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
710:
790:
401:
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 an
275:– 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, against
499:
1062:. 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
909:
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
754:
791:
1028:. 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. In
500:
352:
This chord might be notated Cm, Cm, Cmin/maj, Cmin, etc. Note that Cm has the same notes as F with the root omitted, i.e. the notes F (omitted), A, E
648:
2163:
826:
755:
708:
1173:
829:
651:
1729:
1225:
1152:
1131:
711:
948:. Each of them has a major third and augmented sixth above the bass. When these are the only three notes present, the chord is an
1646:
1556:
619:
251:. For example, a major sixth chord built on C (denoted by C, or CM) consists of the notes C, E, G, and the added major sixth A.
635:
789:
1661:
696:
1121:
719:
378:, or B. Many jazz chord charts use these chord notations indiscriminately, particularly in the choice of minor sixth versus
2072:
1671:
1656:
1106:
498:
406:
986:
928:
452:
339:
258:
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185:
149:
1829:
397:
Just like the minor is to the major, the minor sixth can be considered to be similarly related to the dominant seventh.
1900:
883:
871:, a Hollywood added-sixth chord of ever there was one." (Stravinsky himself later criticized his choice of the final D
863:
792:
665:
753:
1441:
Deruchie, A. (2009, p. 97) "Mahler’s farewell or The Earth’s Song? Death, Orientalism and Mahler’s ‘Der
Abschied’",
1402:
837:
1686:
1666:
501:
1651:
572:
1528:
111:
in popular music, so there is no need for a term designating the first inversion of a chord, and so the term
74:
above it. This is how the term is still used in classical music today, and in this sense it is called also a
1676:
410:
302:
of the strongest interval of the chord in first inversion (CEGA), the perfect fifth (C–G), is the root (C).
756:
2194:
2046:
1943:
1691:
1641:
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Instances of the sixth chord crop up in popular music towards the end of the 19th century, for example in
414:
276:
2204:
1844:
1773:
1681:
942:
814:
731:
683:, "the most striking moment in the sonata is its opening, where an ambiguous added-sixth chord on the
2067:
2051:
1885:
1549:
568:
379:
100:
393:
1636:
1631:
749:(C–D–F–G–A) is found to be the outline of the tonic added sixth chord, plus the G as passing tone…"
470:
272:
119:. There are three main types of added sixth chords: major sixth, minor sixth and minor flat sixth.
2122:
2087:
2041:
1424:
1362:
1055:
989:
931:
618:
The minor flat sixth chord is arpeggiated in the first chord of the dungeon music from the first
455:
342:
261:
208:
188:
175:
152:
27:
Two different kinds of chord, the first in classical music and the second in modern popular music
979:
in C major, for example) as the bass note – in this case, they tend to resolve to the dominant.
198:
The dominant chord's fifth may be substituted by the chord's sixth, analyzed as its thirteenth:
968:
2013:
1934:
1869:
1407:
1221:
1169:
1148:
1127:
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resolves itself through a series of halting steps, rhythmically and harmonically, towards the
596:
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383:
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2018:
1971:
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905:
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232:
91:
71:
868:
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2199:
2033:
1905:
1849:
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1724:
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1036:
548:
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291:
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163:
128:
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41:
800:
2173:
2168:
2008:
2003:
1910:
1714:
1701:
1005:
782:
680:
523:
359:
108:
86:
536:, resulting in "a sort of bitonality: A minor in the melody, C major in the harmony."
2188:
2077:
2023:
1995:
1951:
1924:
1864:
1859:
1819:
1618:
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82:
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45:
37:
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1981:
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chord is the appropriate notation choice. In some cases, the harmony is ambiguous.
299:
67:
17:
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seventh chord (possibly the dominant of the supertonic V/ii). According to the
2132:
1976:
1956:
1719:
1352:
1059:
1029:
1025:
892:
858:
845:
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552:
533:
519:
387:
363:
284:
224:
956:; while adding a perfect fifth above the bass of an Italian sixth makes it a
433:, which is referred to as a flat sixth. Thus in C, it contains the notes C, E
2117:
1740:
1083:
764:
631:
63:
867:(1945) "incorporates elements of American popular music, most famously the
178:
and later... retained as a part of the chord, no resolution taking place."
89:. This was traditionally (and in classical music is still today) called an
1523:
1469:
The Oxford
History of Western Music: Music in the Early Twentieth Century.
2158:
1985:
1890:
888:
878:
777:
738:
540:
235:". As the name suggests, this is a triad with an added sixth interval.
1961:
1895:
1428:
1357:
745:
of the early 1900s. The following passage "is in F major; its seeming
742:
727:
1265:
The
Popular Style; the Antecedents of Twentieth Century Popular Music
1252:
The Oxford
History of Western Music, Volume 3, The Nineteenth Century
1239:
The
Popular Style; the Antecedents of Twentieth Century Popular Music
1420:
960:(the etymology of all these names is unclear). All usually have the
952:; when an augmented fourth is added above the bass, the chord is a
836:
824:
799:
787:
763:
751:
718:
706:
664:
646:
508:
496:
392:
1032:
and theory, the sixth is required due to it being an added tone.
881:’s "Louange à l’immortalité de Jésus", the final movement of his
283:
chord of some popular music being traditionally analyzable as a "
1020:. Conventionally, the sixth is third in importance to the root,
1538:
630:
An unusual use of this chord at the start of a work occurs in
465:
This chord might be notated Cm. It also shares identity as an
413:
respectively, considers this chord to be the utonality to the
887:(1941) opens with a meditative theme "played entirely over a
1328:
Fujita, T., Hagino, Y., Kubo, H. and Sato, G. (1989, p.282)
1315:
Fujita, T., Hagino, Y., Kubo, H. and Sato, G. (1989, p.376)
1123:
Harmony and Theory: A Comprehensive Source for All
Musicians
730:
frequently used the sixth chord, for example in his piano
1534:
988:
Audio playback is not supported in your browser. You can
930:
Audio playback is not supported in your browser. You can
555:. Later popular songs that feature sixth chords include:
454:
Audio playback is not supported in your browser. You can
341:
Audio playback is not supported in your browser. You can
260:
Audio playback is not supported in your browser. You can
207:
Audio playback is not supported in your browser. You can
187:
Audio playback is not supported in your browser. You can
151:
Audio playback is not supported in your browser. You can
781:, which contains subtle echoes of the late 19th century
852:(1935) ends with a "tonic triad of B flat, with added
737:(1913), whose idiom alludes to the popular idioms of
372:–G–A might be written as Cm, F, F (no root), Am, B, A
326:
above the root. Thus in C, it contains the notes C, E
107:) in the 18th century. It is not common to designate
704:
uses the minor added sixth chord to striking effect:
290:" (added sixth chords by popular terminology), or a
2151:
2100:
2060:
2032:
1994:
1942:
1932:
1878:
1792:
1754:
1700:
1617:
1579:
1572:
785:, incorporates added sixth chords in its harmony:
1291:Twilight of the Gods: the Beatles in Retrospect.
1278:The Swing Era: The development of Jazz 1930-1945
694:In the opening section of his Fantasy-Overture,
1220:, p.40-41. New York, New York: Schirmer Books.
81:In modern popular music, a sixth chord is any
1550:
8:
1939:
1576:
1557:
1543:
1535:
1493:Stravinsky I., and Craft, R. (1968, p.51)
1166:The Complete Idiot's Guide to Music Theory
841:Mahler, Das Lied von der Erde, final chord
833:Mahler, Das Lied von der Erde, final chord
768:Debussy, from 'General Lavine - eccentric'
760:Debussy, from 'General Lavine - eccentric'
551:" (1940) is a well-known example from the
279:theory, provides the example of the final
271:These are the same notes as those of an A
115:in popular music is a short way of saying
808:The timeless, meditative closing bars of
723:Tchaikovsky Romeo & Juliet bars 28-33
715:Tchaikovsky Romeo & Juliet bars 28-33
386:harmonies, will generally indicate which
505:Johann Strauss II, the Blue Danube Waltz
85:with an added sixth above the root as a
1304:One Two Three Four: The Beatles in Time
1218:Techniques of the Contemporary Composer
1120:Keith Wyatt and Carl Schroeder (1998).
1099:
133:In early music, what is today called a
1508:Olivier Messiaen and the Music of Time
1445:, Vol. 17, Words and Music, pp. 75-97.
1353:"Queen - Bohemian Rhapsody with score"
51:The original meaning of the term is a
429:and the additional sixth interval is
247:and the additional sixth interval is
7:
310:The minor sixth chord (sometimes:
25:
1390:The Piano Works of Claude Debussy
36:refers to two different kinds of
1923:
1522:
1365:from the original on 2021-12-05.
1263:Van der Merwe, P. (1989, p.232)
1237:Van der Merwe, P. (1989, p.231)
967:
425:The minor flat sixth chord is a
166:, the note may be analyzed as a
162:Alternatively, rather than as a
877:sixth chord as ‘commercial.’ )
532:(1928) uses the chord from the
358:, C, and G. These notes form a
1375:Matthews, Denis. (1967, p.31)
298:of the added sixth chord, the
1:
1458:, Cambridge University Press.
1388:Schmitz, E.R. (1950, p. 74)
1194:Miller, Horace Alden (1930).
973:(sixth degree of the scale, A
899:Special kinds of sixth chords
407:half-diminished seventh chord
231:was traditionally called an "
1506:Griffiths, P. (1985, p.103)
1330:The Beatles Complete Scores.
1317:The Beatles Complete Scores.
1254:. Oxford University Press.
1250:Taruskin, R. (2010, p. 649)
985:
927:
451:
338:
257:
204:
184:
148:
1467:Taruskin, R. (2010, p717)
1276:Schuller, G. (1989, p.674)
884:Quartet for the End of Time
864:Symphony in Three Movements
243:The major sixth chord is a
2221:
1647:Dominant seventh flat five
1484:. London, Reaktion Books.
1289:Mellers, W. (1973, p.33).
1280:. Oxford University Press
1267:. Oxford University Press.
1241:. Oxford University Press.
126:
58:, in other words with its
1921:
1480:Cross, J. (2015, p. 144)
1108:Music: The Listener's Art
44:and the second in modern
1471:Oxford University Press.
1302:Brown, C. (2020, p.122)
1164:Miller, Michael (2005).
812:’s song "Abschied" from
735:General Lavine-Eccentric
2164:Chord names and symbols
1454:Pople, A. (1991, p.60)
1377:Beethoven Piano Sonatas
1143:Piston, Walter (1987).
990:download the audio file
932:download the audio file
822:(A minor and C major)."
456:download the audio file
411:otonality and utonality
343:download the audio file
262:download the audio file
209:download the audio file
189:download the audio file
153:download the audio file
2047:Secondary leading-tone
1405:(1992). "Last Dance".
1332:Milwaukee, Hal Leonard
1319:Milwaukee, Hal Leonard
1024:, and third, being an
941:There are a number of
842:
834:
805:
797:
769:
761:
724:
716:
676:
662:
514:
506:
415:dominant seventh chord
398:
277:common practice period
97:triad with added sixth
1495:Dialogues and a Diary
1306:. London, 4th Estate.
1207:Miller (1930), p. 52.
840:
832:
815:Das Lied von der Erde
803:
795:
767:
759:
722:
714:
669:Beethoven Sonata in E
668:
655:Beethoven Sonata in E
654:
512:
504:
396:
380:dominant ninth chords
2052:Secondary supertonic
1531:at Wikimedia Commons
1456:Berg Violin Concerto
1196:New Harmonic Devices
804:From Ravel, La Valse
796:From Ravel, La Valse
675:, Op 31 No 3 opening
661:, Op 31 No 3 opening
569:The Fool on the Hill
384:dominant-functioning
322:with a tone added a
101:Jean-Philippe Rameau
1074:–D′–F′ = C–E–G–A).
513:Strauss Blue Danube
471:major seventh chord
273:minor seventh chord
227:, what is called a
2123:Chord-scale system
2042:Secondary dominant
1392:. New York, Dover.
843:
835:
806:
798:
770:
762:
725:
717:
677:
663:
642:major, Op 31 No. 3
626:In classical music
515:
507:
399:
296:interval strengths
219:Added sixth chords
76:chord of the sixth
2182:
2181:
2096:
2095:
2014:Chromatic mediant
1919:
1918:
1870:Viennese trichord
1527:Media related to
1510:. London, Faber.
1497:. London, Faber.
1415:(1817): 432–435.
1408:The Musical Times
1174:978-1-59257-437-7
1068:–D′–F′–A′ minus B
1056:octave equivalent
994:
936:
830:
793:
757:
712:
652:
636:Piano Sonata in E
597:Bohemian Rhapsody
585:The Young Rascals
581:Bring Me Sunshine
502:
483:Johann Strauss II
460:
347:
316:minor/major sixth
312:minor major sixth
266:
233:added sixth chord
213:
193:
157:
117:added sixth chord
92:added sixth chord
18:Major sixth chord
16:(Redirected from
2212:
1940:
1927:
1735:
1734:
1692:Harmonic seventh
1662:Diminished major
1577:
1559:
1552:
1545:
1536:
1526:
1511:
1504:
1498:
1491:
1485:
1478:
1472:
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1452:
1446:
1443:Austrian Studies
1439:
1433:
1432:
1403:Benjamin, George
1399:
1393:
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1380:
1373:
1367:
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1349:
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1214:
1208:
1205:
1199:
1192:
1186:
1183:
1177:
1162:
1156:
1141:
1135:
1118:
1112:
1104:
1089:thirteenth chord
1073:
1072:
1067:
1066:
1050:
1049:
1044:
1043:
978:
977:
972:
971:
965:
964:
920:
919:
914:
913:
906:Neapolitan sixth
876:
875:
831:
794:
758:
713:
697:Romeo and Juliet
674:
673:
660:
659:
653:
641:
640:
529:Threepenny Opera
503:
491:Richard Taruskin
477:In popular music
444:
443:
438:
437:
421:Minor flat sixth
377:
376:
371:
370:
366:equivalents: C–E
357:
356:
331:
330:
318:) consists of a
109:chord inversions
21:
2220:
2219:
2215:
2214:
2213:
2211:
2210:
2209:
2185:
2184:
2183:
2178:
2147:
2092:
2056:
2028:
1990:
1928:
1915:
1906:Synthetic chord
1874:
1845:Northern lights
1810:Complexe sonore
1788:
1774:Augmented sixth
1762:
1760:
1750:
1732:
1731:
1725:Upper structure
1696:
1682:Altered seventh
1677:Augmented minor
1672:Augmented major
1657:Half-diminished
1613:
1568:
1563:
1519:
1514:
1505:
1501:
1492:
1488:
1482:Igor Stravinsky
1479:
1475:
1466:
1462:
1453:
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1440:
1436:
1421:10.2307/1003252
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1215:
1211:
1206:
1202:
1193:
1189:
1184:
1180:
1163:
1159:
1142:
1138:
1119:
1115:
1105:
1101:
1097:
1080:
1070:
1069:
1064:
1063:
1047:
1046:
1041:
1040:
1002:
997:
996:
995:
993:
975:
974:
966:
962:
961:
944:augmented sixth
939:
938:
937:
935:
917:
916:
911:
910:
901:
873:
872:
850:Violin Concerto
825:
788:
775:’s 1920 ballet
752:
707:
671:
670:
657:
656:
647:
638:
637:
628:
620:Legend of Zelda
567:" (1965) and "
549:Tuxedo Junction
497:
487:The Blue Danube
479:
463:
462:
461:
459:
441:
440:
435:
434:
423:
374:
373:
368:
367:
354:
353:
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328:
327:
308:
292:first inversion
269:
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241:
221:
216:
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214:
212:
196:
195:
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164:six three chord
160:
159:
158:
156:
139:first inversion
131:
129:First inversion
125:
123:Triad inversion
55:first inversion
42:classical music
40:, the first in
28:
23:
22:
15:
12:
11:
5:
2218:
2216:
2208:
2207:
2202:
2197:
2187:
2186:
2180:
2179:
2177:
2176:
2171:
2169:List of chords
2166:
2161:
2155:
2153:
2149:
2148:
2146:
2145:
2140:
2135:
2130:
2125:
2120:
2115:
2110:
2104:
2102:
2098:
2097:
2094:
2093:
2091:
2090:
2085:
2080:
2075:
2070:
2064:
2062:
2058:
2057:
2055:
2054:
2049:
2044:
2038:
2036:
2030:
2029:
2027:
2026:
2021:
2016:
2011:
2006:
2000:
1998:
1992:
1991:
1989:
1988:
1979:
1974:
1969:
1964:
1959:
1954:
1948:
1946:
1937:
1930:
1929:
1922:
1920:
1917:
1916:
1914:
1913:
1908:
1903:
1898:
1893:
1888:
1886:Mixed interval
1882:
1880:
1876:
1875:
1873:
1872:
1867:
1862:
1857:
1852:
1847:
1842:
1837:
1832:
1827:
1822:
1817:
1812:
1807:
1802:
1796:
1794:
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1518:
1517:External links
1515:
1513:
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1394:
1381:
1379:. London, BBC.
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1187:
1185:Piston, p. 359
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783:Viennese Waltz
681:Denis Matthews
627:
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524:Mack the Knife
478:
475:
453:
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288:six-five chord
259:
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10:
9:
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2206:
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2201:
2198:
2196:
2195:Chord factors
2193:
2192:
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2172:
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2167:
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2078:Primary triad
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1293:London, Faber
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1247:
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1234:
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1226:0-02-864737-8
1223:
1219:
1216:Cope (1997).
1213:
1210:
1204:
1201:
1197:
1191:
1188:
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1161:
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1153:0-393-95480-3
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1137:
1133:
1132:0-7935-7991-0
1129:
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1103:
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1061:
1057:
1054:The sixth is
1052:
1038:
1033:
1031:
1027:
1023:
1019:
1015:
1014:scale degrees
1011:
1007:
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991:
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950:Italian sixth
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811:
810:Gustav Mahler
802:
786:
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780:
779:
774:
773:Maurice Ravel
766:
750:
748:
747:pentatonicism
744:
740:
736:
733:
729:
721:
705:
703:
699:
698:
692:
690:
686:
682:
679:According to
667:
645:
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633:
625:
623:
621:
616:
614:
610:
607:" (1975) and
606:
602:
598:
594:
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586:
582:
578:
574:
570:
566:
562:
561:She Loves You
558:
554:
550:
546:
542:
539:The trombone
537:
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531:
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521:
511:
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468:
457:
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385:
381:
365:
362:with several
361:
344:
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143:
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136:
130:
122:
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118:
114:
110:
106:
105:sixte ajoutée
102:
98:
94:
93:
88:
84:
79:
77:
73:
69:
65:
61:
57:
56:
49:
47:
46:popular music
43:
39:
35:
34:
19:
2205:Chromaticism
1982:Leading-tone
1768:
1759: /
1746:Tone cluster
1627:Leading-tone
1529:Sixth chords
1507:
1502:
1494:
1489:
1481:
1476:
1468:
1463:
1455:
1450:
1442:
1437:
1412:
1406:
1397:
1389:
1384:
1376:
1371:
1356:
1347:
1337:
1329:
1324:
1316:
1311:
1303:
1298:
1290:
1285:
1277:
1272:
1264:
1259:
1251:
1246:
1238:
1233:
1217:
1212:
1203:
1195:
1190:
1181:
1165:
1160:
1144:
1139:
1122:
1116:
1107:
1102:
1053:
1034:
1003:
1000:Sixth factor
958:German sixth
957:
954:French sixth
953:
949:
943:
940:
904:
902:
882:
862:
844:
819:
813:
807:
776:
771:
734:
726:
695:
693:
678:
629:
617:
605:Bad Sneakers
545:Glenn Miller
538:
527:
516:
480:
464:
424:
400:
351:
332:, G, and A.
315:
311:
309:
270:
242:
228:
222:
197:
172:appoggiatura
161:
138:
134:
132:
116:
112:
104:
96:
90:
87:chord factor
80:
75:
52:
50:
32:
31:
29:
1967:Subdominant
1830:Grandmother
1687:Nondominant
1667:Minor-major
1030:jazz chords
893:added sixth
869:final chord
702:Tchaikovsky
685:subdominant
573:Arthur Kent
563:" (1963), "
557:The Beatles
543:that opens
526:" from the
427:minor triad
324:major sixth
320:minor triad
306:Minor sixth
245:major triad
239:Major sixth
229:sixth chord
135:sixth chord
113:sixth chord
33:sixth chord
2189:Categories
2101:Techniques
2088:Substitute
2083:Subsidiary
2019:Neapolitan
1977:Submediant
1957:Supertonic
1730:Dominant 7
1720:Thirteenth
1652:Diminished
1604:Diminished
1168:, p. 119.
1095:References
1060:thirteenth
1026:added tone
1016:above the
1004:The sixth
859:Stravinsky
846:Alban Berg
615:" (1979).
601:Steely Dan
599:" (1975),
591:" (1967),
583:" (1968),
577:Sylvia Dee
571:" (1967),
520:Kurt Weill
439:, G, and A
388:enharmonic
364:enharmonic
285:submediant
168:suspension
127:See also:
2118:Chordioid
2034:Secondary
1850:Petrushka
1784:Seven six
1741:Polychord
1609:Suspended
1599:Augmented
1147:, p. 66.
1126:, p. 82.
1084:6/9 chord
889:6-4 chord
632:Beethoven
553:Swing era
522:’s song "
489:" waltz.
467:inversion
403:inversion
174:, "first
53:chord in
30:The term
2159:Arpeggio
2073:Contrast
2009:Borrowed
2004:Approach
1986:Subtonic
1972:Dominant
1944:Diatonic
1935:function
1891:Secundal
1793:Specific
1733:♯
1715:Eleventh
1702:Extended
1642:Dominant
1363:Archived
1198:, p. 51.
1111:, p. 113
1078:See also
1071:♭
1065:♭
1048:♭
1042:♭
976:♭
963:♭
918:♭
912:♭
879:Messiaen
874:♭
820:Das Lied
778:La Valse
739:cakewalk
672:♭
658:♭
639:♭
589:Groovin'
442:♭
436:♭
375:♭
369:♭
355:♭
329:♭
176:resolved
66:and its
2024:Passing
1996:Altered
1962:Mediant
1901:Quartal
1896:Tertian
1879:General
1865:Tristan
1860:So What
1820:Elektra
1761:omitted
1619:Seventh
1573:By form
1429:1003252
1358:YouTube
1145:Harmony
1058:to the
1037:quality
1012:is six
915:, and D
743:ragtime
732:prelude
728:Debussy
644:(1802):
469:of the
405:of the
62:in the
2200:Chords
2174:Factor
2128:Guitar
2068:Common
1911:Tetrad
1855:Psalms
1840:Mystic
1825:Farben
1805:Bridge
1779:Lydian
1566:Chords
1427:
1224:
1172:
1151:
1130:
1006:factor
946:chords
622:game.
360:tetrad
99:since
2152:Other
2143:Slash
2138:Power
2113:Block
2108:Barre
2061:Other
1952:Tonic
1835:Magic
1815:Dream
1800:Alpha
1769:Sixth
1757:Added
1710:Ninth
1637:Minor
1632:Major
1594:Minor
1589:Major
1581:Triad
1425:JSTOR
1022:fifth
1010:chord
1008:of a
891:with
854:sixth
689:tonic
593:Queen
565:Help!
534:start
431:minor
314:, or
281:tonic
249:major
83:triad
72:sixth
60:third
38:chord
2133:Open
1222:ISBN
1170:ISBN
1149:ISBN
1128:ISBN
1045:–G–A
1035:The
1018:root
903:The
741:and
613:Babe
611:'s "
609:Styx
603:'s "
595:'s "
579:'s "
575:and
547:’s "
541:riff
485:’s "
300:root
225:jazz
68:root
64:bass
1933:By
1417:doi
1413:135
1051:).
895:"
861:’s
848:’s
691:."
634:’s
587:' "
559:' "
223:In
170:or
137:or
95:or
2191::
1984:/
1423:.
1411:.
1361:.
1355:.
1342:7)
921:.
700:,
473:.
445:.
417:.
78:.
70:a
48:.
1736:9
1558:e
1551:t
1544:v
1431:.
1419::
1228:.
1176:.
1155:.
1134:.
992:.
934:.
458:.
345:.
264:.
211:.
191:.
155:.
103:(
20:)
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