Instances of the sixth chord crop up in popular music towards the end of the 19th century, for example in Johann Strauss II’s " The Blue Danube" waltz. 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. closer to the composer's harmonic intent or vice versa. Thus, in some cases when a Cm 6 is indicated, the F 9 is in fact a better harmonic choice, i.e. Many jazz chord charts use these chord notations indiscriminately, particularly in the choice of minor sixth versus dominant ninth chords. These notes form a tetrad with several enharmonic equivalents: C–E ♭–G–A might be written as Cm 6, F 9, F 9 (no root), Am 7 ♭5, B 7 ♭9, A ♭ Maj7 ♭9, or B alt. Thus in C, it contains the notes C, E ♭, G, and A. The chord consists of a minor triad with a tone added a major sixth above the root. It is unlike the major sixth chord, which is often substituted for a major triad the minor sixth plays a number of different harmonic roles. In jazz, the minor sixth chord (sometimes: minor major sixth, or minor/major sixth) is frequently used. According to the interval strengths of the added sixth chord, the root of the strongest interval of the chord in first inversion (CEGA), the perfect fifth (C–G), is the root (C). To explain the analyses as added sixth chords, against common practice period theory, provides the example of the final tonic chord of some popular music being traditionally analyzable as a " submediant six-five chord" (added sixth chords by popular terminology), or a first inversion seventh chord (possibly the dominant of the mediant V/iii). These are the same notes as those of an A minor seventh chord – whether such a chord should be regarded as an added sixth chord or a seventh depends on its context and harmonic function. Audio playback is not supported in your browser.
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