6 chords

[Cary Fagan]

I'm taking a few lessons again and my teacher. the other day he was showing me how to play six chords over a major chord (if I'm expressing this right). For example, in bluegrass stomp, on the D he was moving from D to D6 to D7 before the shift to G. And showed me that the minor 6 chord works--for D, you can play Bminor, it's the same as a D6 (only missing one note). Well, it sounded good when he did it but not so good when I tried in the jam yesterday. Does anyone use this? Any advice about fingerings that work better? I certainly like the idea of making my rhythm playing more interesting, esp as there is usually at least one other mando player.

[AlanN]

For cool D6 to the 4 chord, try (low to high)

7,4,2 to 7,3,2

Just don't overdo it

[groveland]

And showed me that the minor 6 chord works--for D, you can play Bminor, it's the same as a D6 (only missing one note). #

I'm thinking you don't mean "minor 6 chord" here. #Absolutely true, if someone is playing a straight B minor chord, you can play a D6. #Actually, a Bm7 chord can be described as the "relative minor" of a D6 chord. #(That7 is the "only missing one note" you refer to.) There is such a thing as a minor 6 chord, but that's something else.

Hope I didn't misinterpret what you were saying.

To your question, a lot of times in jazz you will use a 6 chord instead of a ma7 or 7 chord to leave the 7th degree open to interpretation for the improvisor. #(An example might be the first chord of "Oleo", a tune that uses "rhythm changes". #You'll often hear the first chord as a Bb6 so the soloist can play either Bb mixolydian/blues or Bb major, the 7 being undefined by the chord.)

[Ken Sager]

I remember at the first Mandolin Symposium hearing Mike Marshall and Chris Thile talk about using a 6 chord (not the 6 minor) instead of a straight major chord as a chop chord. It thickens the sound, and ceratinly doesn't always feel right, but it's fun to try it instead of playing regular chop chords. When used simply as a percussive chord it works most of the time. I also like it as a passing chord to a 7th, as Cary mentions, too.

Best,
Ken

[250sc]

I use them all the time for anything that I what to swing. Try the minor 6th with Django stuff.

[Mark Robertson-Tessi]

An easy form to grab is 5575 low to high (C6) which you can shift wherever for other roots (7797 is D6, etc.). #You can drop the second finger in for the seventh (5576), or your pinky for a straigth major (5578) or pick up the second/ninth (557(10)). #For even more of a jazzy sound, drop your pinky on the d strings to get the seventh while keeping the sixth (5875). #In some blues settings, on a five chord, taking the flat 6th with that form sounds neat (5874). #As usual you can always drop the lowest string to get three note chords. #For minor sixths, you can use the 5565 form.

Lots of possibilities!

Cheers
Mark RT

[Ken Sager]

I like those chords, too, Mark. Another favorite is 7577 for a G6, it's also one of my favorite Minor 7 chord shapes, too. That one is a nice Em7.
Best,
Ken

[Scotti Adams]

..you can also play an Aminor against a D7 and it sounds pretty cool..

[groveland]

Aminor against a D7

(A C E) + (D F# A C) = (D F# A C E) = D9

[Ken Sager]

I love math!
Thanks G!
Ken

[ChrisWallace]

6th chords are definitely versatile! If you think about it, the 6th degree of a major scale is very consonant with the other tones in the chord. So, if you're playing a D6 the 6th degree is a B. That B is present in the pentatonic scale and generally isn't going to clash with the other things that're going on. Very cool to my ear!

Also, I don't play much of it, but I hear that Texas Swing substitutes 6 chords for straight triads all the time!

[AlanN]

This has been said before: to get the 6 from the chop position, transpose fingers 1 and 3, so A Major is 9745, A6 is 9475. Butch Baldassari says of that 'modern' chord, and I quote..."I hate that."

[Ted Eschliman]

Speaking of the Devil...

[groveland]

Ted - Great article, right on time.

It illustrates that Am6, F#m7b5, and a "rootless D9" are voicings/inversions of the same set of notes, and are the same chord and interchangeable from that static point of view - But more importantly, it illustrates how a single set of notes will perform different functions depending on their context...

Great stuff!

What's also cool is that this relationship you are referencing (m6, 9, m7b5) is found on the ii, V, and vii degrees, and the i, IV and vi degrees of the melodic minor scale. #That gives us some great improv ideas. #I'll bet you have an article on that, too...

[jmcgann]

I can't express how great it is to have folks like Ted and Groveland here (just to name two of the very knowledegable folks who post here), and what they have to offer with free (but invaluable) information.

If you glaze over about theory, you aren't alone- but believe me, it is well worth the slog to gain the kind of understanding these guys have.

[Cary Fagan]

Great replies! I've tried some of the shapes suggested with good results but since then you've added some more. And I'm working to understand the theory behind it all. So, many thanks for sharing. Any more additions welcome.