Major & Minor Sixth Chords

With
Tim RichardsTim Richards shows how and when to use major and minor sixth chords, voicing them on the I chord in a tune like Fly Me to the Moon.
What's in the course
29 lessons (1h 51m) · 1 free
01. The Diatonic Cycle
4:01

02. Brazilian Rhythms
3:29

03. BOSSA NOVA COMPING #1 - Performance
1:12

04. Major & Minor Sixth Chords
You are here3:28

05. FLY ME TO THE MOON - Performance
0:54

06. Secondary Dominants
2:15

07. Horizontal & Vertical Improvisation
3:22

08. Opening out Left-hand Chords
3:57

09. AUTUMN LEAVES - Performance
1:35

10. Syncopating the melody
5:16

11. The Blues Scale
3:24

01. Shells
5:42

02. ORNITHOLOGY - Performance
2:54

03. Turnarounds and Vertical Improvisation
9:51

04. Two-handed Comping
2:09

05. Long & Short II-V-Sequences
2:43

06. II-V-I Cycles
5:14

07. II-V-I ARPEGGIO WORKOUT - Performance
1:41

08. Using Chromaticism and Encircling
6:53

09. Fake Books & Lead Sheets/II-V-I Sequences in Jazz Standards
3:24

10. Endings
2:07
Lesson transcript
Music Lesson: Fly Me to the Moon in Bossa Nova
So, Fly Me to the Moon doesn't have to be played in a bossa groove. In fact, bossa novas are more associated with tunes by Antonio Carlos Jobim.
The Bossa Nova Craze
There was a bit of a craze in the 60s led by jazz musicians such as Stan Getz, who went to Brazil and embraced bossa nova, just as bossa nova embraced jazz harmony.
Course Focus
For this course, I've decided to do Fly Me to the Moon in a bossa groove, which is why we just played the chords and the bass line.
What you've just done in bossa nova comping could serve as an accompaniment for someone else to play the melody or sing it. You could even sing it yourself!
Discussing the I Chord
Before we dive into Fly Me to the Moon, I want to talk about the I chord, which we were playing as C major 7.
- Don't forget that you can also play C6.
- You can apply this in bossa nova comping as well.
Instead of playing C major 7 when it goes to E minor 7 and A7, you could finish on C6 in second inversion here instead of C major 7.
Sound Considerations
You may not want the sound of the B and C together, which is a bit clashy in many ways, especially if the melody is C.
- When the C is the root of the melody, you often play a sixth chord to avoid the clash between the sound of the major seventh and the root.
Getting Comfortable with C6 Shapes
Now, you need to get comfortable with these C6 shapes and practice playing the three inversions.
- Positions: Get used to these in your left hand as well.
- When you play these inversions of C6, be aware that the third inversion with A on the bottom has the same notes as A minor 7.
Distinguishing Between Chords
How do you tell the difference? Well, it all comes down to what the bass is playing:
- If the bass is playing an A, you'd call it a minor 7.
- If the bass is playing a C, you'd call it C6.
In the same way, you can add a sixth to a minor chord.
- C minor with a sixth would be referred to as C minor sixth. This indicates that we're playing a minor triad while still adding the interval of a major sixth.
Practicing the C Minor Sixth
When you play C minor sixth up and down, you get these shapes.
- Notice how the top shape is also a minor 7 flat 5 (½ diminished).
Now you should be aware that some chords are ambiguous. C minor 6 can also be a half diminished, depending on what is in the bass.
29 lessons
1h 51m of structured video lessons
Advanced video features
Slow down, loop a passage, follow along
Mobile, tablet & desktop
Practise wherever you are
100% satisfaction guarantee
30-day money-back guarantee
Meet your guru

Meet your guru
Critically acclaimed jazz pianist and composer Tim Richards is one of Britain’s most experienced jazz educators, teaching piano privately for over 30 years, as well as at Morley College, Goldsmiths College, the University of Surrey, Premises Studios and other venues in the UK and abroad. He has produced numerous titles for Schott Music, including the best-selling two-volume Exploring Jazz Piano, Blues, Boogie & Gospel Collection and the acclaimed Improvising Blues Piano. He is also co-author, with John Crawford, of Exploring Latin Piano and Brazilian Piano Collection.
More recently Schott have published Jazz, Latin & Modern Collection (15 pieces for solo piano), comprising Tim Richards originals alongside pieces by Duke Ellington and Thelonious Monk, and the two volume set Beginning Jazz Piano (now a two-part MusicGurus course).
“The real joy of Tim’s music… is that it is both hugely educational but also such great fun to play. Anyone with the slightest interest in learning to play or teach jazz piano should really acquire a set of Tim’s books.” PianoDao
As a performer Tim has been a presence on the UK jazz scene since the 1980s, also playing the blues with UK and US legends such as Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker and Mojo Buford. He has released over a dozen albums as a leader (featuring many of London’s best jazz musicians including Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce and many others), and toured all over Europe with line-ups ranging from duo to nine-piece. His latest recording, the album ‘Telegraph Hill’ by the six-piece Hextet, was described in The Observer as "A true joy from beginning to end".
More info can be found on his website www.timrichards.ndo.co.uk




















