(Yes, in certain context there may be exceptions to how these notes function, but 99% of the time, a C major is a C major.) Same is true with C minor (C-Eb-G) and dominant seventh (C-E-G-Bb) chords. ![]() ![]() Play G-E-C and you still have a C major chord, though in a less stable form. Any time you play the notes C-E-G, with no added notes, you are unambiguously playing a C major chord. What I mean by identity is this: major chords are major chords no matter how you invert them or orchestrate them. Sixth chords lack both of these characteristics. They each have a definite identity and they take us places, either away from, or back to the root. Major, minor, and dominant seventh chords are the most powerful chords in music. Here’s a look at sixth chords and how to use them to stir the muse or add a little spice to your songs. Yet sixth chords can juice up your songs by adding contemplative dissonance (in the case of major sixths) or brooding mystery (in the case of minor sixths). Sixth chords are curious creatures, perhaps best defined by what they aren’t rather than what they are, and by what they don’t do as opposed to what they do. ![]() Sixth chords have an inherent lack of identity and purpose that can be riveting - a sixth chord can provide ambiguity, set curiously dark moods, and add a layer of complexity to your music.
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