Harmony for the compleat idiot (12)

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SIXTH CHORDS:

Chord Symbol	Notes in Chord
C6	C E G A
F6	F A C D
Bb6	Bb D F G
Eb6	Eb G Bb C
Ab6	Ab C Eb F
Db6	Db F Ab Bb (also called C#maj7 - C# E# G# A#)
Gb6	Gb Bb Db Eb (also called F#7 - F# A# C# D#)
B6	B D# F# G#
E6	E G# B C#
A6	A C# E F#
D6	D F# A B
G6	G B D E

We've included a couple of the alternative names and chord notes. For instance Db6 is really the same as C#6. All chords, like all notes, can have a number of different names depending on the circumstances. The actual pitches will, however, remain the same.

Here are all 12 sixth chords in musical notation (with the alternative note names in brackets):

Why does the dominant chord want to move?

Last time we posed this question. There are all sorts of theories to explain this but in keeping with our hard-headed practical approach, we will simply make a couple of observations. There are two notes that are the “engine” (the bit that does all the work) of the seventh chord; the third and the flattened seventh. You'll find this little fact very useful in future when dealing with seventh chords.

The third and flattened seventh alone can fulfill the function of the chord. Try it out, play just these two notes from any seventh chord together and follow them with the major chord next round the cycle. Hear how the V7-I progression can be clearly heard, even though it is a bit skeletal? Now play the two “engine” notes again and listen to them. The effect of these two notes together is quite strong, even harsh.

This may explain the “unfinished” nature of the seventh chord. The desire to replace this harsh sound with something more relaxing is understandable. To find the closest “more relaxing” sound, try moving the two notes towards each other by a semitone.

For example, the two engine of a C7 chord are E and Bb. Move them in towards each other by a semitone, E to F and Bb to A. These two notes are the tonic and third of the “I” part of the “V7-I” progression and form a relaxed, “majory” sound. This may explain the apparent desire of the seventh chord to resolve to the next major chord round the cycle. (It does not explain, however, the equal desire to resolve to the next minor chord round the cycle)

The inability to explain these harmonic inclinations does, however, not mean that they do not exist. As always, we pragmatically follow the "hoocairs" principle (say it aloud).

More on Chord Families

We have already met two of the chord families: the tonic major and the dominant seventh. Now let's meet a new one, the “Tonic minor”. Chords of the tonic minor family, like those of the tonic major, are happy to be finishing chords. Unlike tonic majors, however, they have, not unexpectedly, a “minory” sound. The first and most obvious member of this family is the minor triad (1, b3 and 5). Now lets meet another member of this family.

The minor sixth chord

This chord, as its name suggests, is a minor triad with a sixth sitting on top of it. The notes of the major scale that make it up are: 1, b3, 5 and 6. In the key of C they would be C, Eb, G and A. The minor sixth is a quite angular minor chord.

Try a minor “V7-I” progression with the minor sixth being the “I” chord. Hear how the function is the same as when the minor triad is used as the “I”? The flavour is very different though.

Homework is, not surprisingly, to construct all 12 minor sixth chords. Elephant stamps to successful contestants. Contact me at musosunion@aol.com if you have any questions.

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CD REVIEWS

Gawk Hawk
Calimar campers
Crud Music 40993
$1.65

Kleinwort Futdangler, habend giben us ser gut musik mit dem orkestra von Klempen auf See, now gereturnen mit ein rekord der solo piano und harfe zusammen.
Diese rekord habe elf tracken die originalen liederen zu stylen auf Mendelsohn, Schubert und Kurt Cobain.
Auf den elf tracken, die gutter ist eine tredonie fur die fraulein Cicciolina (also die Austrian Illona Staller) namende Mit der Tittie in der Dittie. Ist eine melodie zu sturm und drang und mit der weltenschauung romantische diese 19 hundertyahr. Alter tracken mit interesen ohn der Habst du ein Zigaretten, Freund? und Mein Gottedammerung ist ein Berliner.
Im Der Spiegel, Herr Schoeder gewritten: “Kleinwort Futdangler ist ein Grosse Pansie.”
Funf earpfluggen und eine geblitzen im der kuchen

Now ein versione mit translation automatique in zer gut Englischen (courtesie auf dem Babelfisch):

Small word Futdangler, having US giben more ser well music with orkestra from Klempen on lake, now gereturnen also a record the solo piano and play the harp together. This record has eleven tracken the original liederen to stylen on Mendelsohn, Schubert and Kurt Cobain. On the eleven, is more gutter a tredonie tracken fur the woman Mrs. Ciciolina (thus the Austrian Illona Staller) namende with the Tittie in the Dittie. A melody is to storm and penetrated and with the world looking romantic these 19 hundertyahr. Old tracken with interesen ohn the Habst you cigarettes, friend? and my Gottedammerung is a citizen of Berlin. Gewritten in the mirrors, Mr. Schoeder: "small word Futdangler is a large Pansie." Funf earpfluggen and a geblitzen in the cakes.

Fats Walter
Fats' Chance
Fatso Studios CD2 45521
$12/kg

First, there was Bruno Walter; then came Fats Waller. At last, we have the opportunity to hear the musical genius of their love-child, Fats Walter.
Although born to the couple out of wedlock and never publically recognised in either of their lifetimes — he was brought up by a pride of South-American tree sloths — Fats Walter has inherited the stick-waving stamina of his pater and the pianistic smile of his alter pater.
This CD is representative of the material Fats has been playing around the R&B and symphony concert circuit since he appeared on the scene eight years ago at the Llandudno Jazz and Leek Festival in Wales. It is a mix of symphonic blues in the styles of Brahms and Steven Foster and 12-bar concertos after Benjamin Britten and Robert Johnson. The piece entitled Wallow in the Mud, for instance, is a mellow 28-minute blues in memory of his alter pater, with passages evocative of the pastoral scenes of his childhood in Spazburg, Indiana, where he didn’t live till age eight. The title track is a free-form symphonic arrangement of Beethoven’s Blues and Bagatelle in C; which, despite sounding nothing like the original, nonetheless sounds like nothing else either. This reviewer’s favorite cut is the piece dedicated to Charles Mingus, based on Mingus’ piece written in memory of Lester Young. Walter’s piece is called Adios, Sombrero Porky, and it really steams.
The Laird Campbell McOrkney of the Outer Leprides, writing in the Times, said of this album: “Ay, ‘tis a moonlicht nicht tonicht.”
Four earplugs and a serve of chips

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