[jazz_guitar] 6+ chord?
Kernix
Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7) but would it just be considered an inversion of a m-M7 chord? Think I saw it once in sheet music, but I would like to know for future reference on how to notate it.
Thanks!
jim
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John R
--- In jazz_...@yahoogroups.com, "Kernix" <jkernix@...> wrote:
> Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7) but would it just be considered an inversion of a m-M7 chord? Think I saw it once in sheet music, but I would like to know for future reference on how to notate it.
I had thought it was a major triad in first inversion and lacking the root, plus the augmented interval, and, in common [classical] practice, resolves to a fourth. Richard Wagner and Claude Debussy both used it to interesting effect (Debussy may have been commenting on Wagner as much as on the harmony).
John R.
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rguitarjj
I just saw one, possibly for the first time and was wondering the same thing.
> I had thought it was a major triad in first inversion and lacking the root, plus the augmented interval, and, in common [classical] practice, resolves to a fourth. Richard Wagner and Claude Debussy both used it to interesting effect (Debussy may have been commenting on Wagner as much as on the harmony).
I'm not sure I understand this -- I have to translate it into notes.
E G C = first inversion of Cmajor triad.
E G = first inversion Cmaj without the root.
E G G# = adding in the augmented interval?
Is that what you mean? So Caug6 is C E G G# 1 3 5 #5?
Did I get this right? Since there's no 6, I'm guessing I didn't. Can you straighten me out?
Thanks,
Rick
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Kernix
--- In jazz_...@yahoogroups.com, "John R" <johnrethorst@...> wrote:
>
> --- In jazz_...@yahoogroups.com, "Kernix" <jkernix@> wrote:
>
> > Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7) but would it just be considered an inversion of a m-M7 chord? Think I saw it once in sheet music, but I would like to know for future reference on how to notate it.
>
> I had thought it was a major triad in first inversion and lacking the root, plus the augmented interval, and, in common [classical] practice, resolves to a fourth. Richard Wagner and Claude Debussy both used it to interesting effect (Debussy may have been commenting on Wagner as much as on the harmony).
>
You mean C-E-G#-A is a major triad missing the root? Not following that. I don't play classical - was just thinking of contemporary rock, or jazz or something similar.
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pecpec
--- In jazz_...@yahoogroups.com, "Kernix" <jkernix@...> wrote:
>
> Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know
> it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7)
> but would it just be considered an inversion of a m-M7 chord? Think I
> saw it once in sheet music, but I would like to know for future
> reference on how to notate it.
>
I've never seen it notated as other than the m-maj7 - which is an example of a chord that doesn't sound quite "right" in every possible inversion - if you sound that minor second interval too close together it's awfully dissonant - which is ok if that's what you really want.
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Kernix
C6+ is C-E-G#-A or 1-3-#5-6 and Am-maj7 is A-C-E-G# so I wondering are those notes together with C in the bass ever referred to as a C6+ vs. an inversion of an am-maj7 chord where the notes C-E-G#-A is obviously the 1st inversion of the minor chord. C6,C-E-G-A and Am7, A-C-E-G are chords that equal each other like other chords, so is a C6+ also valid? Or has anyone ever seen it used in a song?
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John R
I was thinking of a Neapolitan chord, that resolves to a fourth. Sorry.
John R.
--- In jazz_...@yahoogroups.com, "John R" <johnrethorst@...> wrote:
>
> --- In jazz_...@yahoogroups.com, "Kernix" <jkernix@> wrote:
>
> > Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7) but would it just be considered an inversion of a m-M7 chord? Think I saw it once in sheet music, but I would like to know for future reference on how to notate it.
>
> I had thought it was a major triad in first inversion and lacking the root, plus the augmented interval, and, in common [classical] practice, resolves to a fourth. Richard Wagner and Claude Debussy both used it to interesting effect (Debussy may have been commenting on Wagner as much as on the harmony).
>
> John R.
>
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Kernix
Ok so a 6+ is not a chord then....?
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Bob Hansmann
On 5/17/2013 4:41 PM, Kernix wrote:
> Ok so a 6+ is not a chord then....?
It certainly is. What is sounds like depends upon what you do with it.
For example, try playing a Ma7(+5) to your Ma6 (+5), or Ma6(+5) to +7
and see if they take you anywhere you'd want to go.
The sky is the limit, my friend.
hope this helps,
Bobby
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Kernix
what?
--- In jazz_...@yahoogroups.com, "John R" <johnrethorst@...> wrote:
>
> I was thinking of a Neapolitan chord, that resolves to a fourth. Sorry.
>
> John R.
>
>
> --- In jazz_...@yahoogroups.com, "John R" <johnrethorst@> wrote:
> >
> > --- In jazz_...@yahoogroups.com, "Kernix" <jkernix@> wrote:
> >
> > > Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7) but would it just be considered an inversion of a m-M7 chord? Think I saw it once in sheet music, but I would like to know for future reference on how to notate it.
> >
> > I had thought it was a major triad in first inversion and lacking the root, plus the augmented interval, and, in common [classical] practice, resolves to a fourth. Richard Wagner and Claude Debussy both used it to interesting effect (Debussy may have been commenting on Wagner as much as on the harmony).
> >
> > John R.
> >
>
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sonomatips
Most often would be used as a dominant (passing) chord, e.g., Ab+(7)b9, from the diminished scale, i.e., Ab-A-B-C-D-E-F-Gb
--- In jazz_...@yahoogroups.com, "pecpec" <peter.crist@...> wrote:
>
> --- In jazz_...@yahoogroups.com, "Kernix" <jkernix@> wrote:
> >
> > Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know
> > it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7)
> > but would it just be considered an inversion of a m-M7 chord? Think I
> > saw it once in sheet music, but I would like to know for future
> > reference on how to notate it.
> >
>
> I've never seen it notated as other than the m-maj7 - which is an example of a chord that doesn't sound quite "right" in every possible inversion - if you sound that minor second interval too close together it's awfully dissonant - which is ok if that's what you really want.
>
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sonomatips
Sorry, that should be the jazz altered scale: Ab-A-B-C-D-E-Gb.
You can build all kinds of weird voicings from that scale if you're so inclined.
--- In jazz_...@yahoogroups.com, "sonomatips" <musette@...> wrote:
>
> Most often would be used as a dominant (passing) chord, e.g., Ab+(7)b9, from the diminished scale, i.e., Ab-A-B-C-D-E-F-Gb
>
> --- In jazz_...@yahoogroups.com, "Kernix" <jkernix@> wrote:
>
> Quick question, is a augmented 6 chord ever used (1-3-#5-6)? I know
> it equals a m-maj7 on the 6th degree (C6+ = Am-maj7, like C6 = Am7)
> but would it just be considered an inversion of a m-M7 chord? Think
> I saw it once in sheet music, but I would like to know for future
> reference on how to notate it.
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