Am6

[excuse me please]

Thanks for reminding me! I completely missed the m7b5 reference. Oh dear
Oh well, I am used to simple chords. G7 is the limit for me.

Glad I helped! Also the daunting looking chords are really suggesting the scales they're on, for example, the G7b9b13 I listed above is telling you the C Harmonic Minor Scale, if you jot down all the specified chord notes: G B D F Ab (C) Eb. If you want a dominant chord suggesting the C Major Scale, it'd be G13: G B D F A (C) E. I'm sure when you look at a G7 you won't only want to play G B D F because that's boring and it's difficult to make cool melodies out of these four

The proper theory term is the "chord-scale theory". I got a great deal of it from Berklee's "A Modern Method for Guitar" vol 3. It needed some mental power at first but was completely worth it once I got used to!

I made it to through volume 2. But I had Warren Nunes' "Rhythm and Background Chords" as well

[shawshawraw]

I made it to through volume 2. But I had Warren Nunes' "Rhythm and Background Chords" as well

It took me 11 months last year to go through the vol 3 (December to October). Come on! You'll make it!!

[excuse me please]

I made it to through volume 2. But I had Warren Nunes' "Rhythm and Background Chords" as well

It took me 11 months last year to go through the vol 3 (December to October). Come on! You'll make it!!

I will run through the whole series later. I miss volume 1 though. I liked to record the duets and play along. There's also a Berkley rhythm guitar book which runs through basic syncopated patterns. Great stuff.

PS I remember the phrase "regular review is a must". Just popped up in my head.

[jancivil]

In your more academic theory, a chord 'of the sixth' in that form is pretty much considered a duplication of or even a misspelling of the seventh chord off that sixth. EG: F# A C E in first inversion. In fact, a tertial harmony in first inversion is known as a 'six chord'.

In swing era jazz, and subsequently in pop, the Add 6 became rather prevalent and is a thing in itself. I've never heard a full-on dismissal of a minor chord adding a minor 6 in strict terms as I seem to have just seen, but there, A C E F is going to be an F^7 chord in first inversion anyway so it's more or less that, a misspelling regardless of style considerations.

As to it can't be something in A minor, guess what? Key of A minor has a form known as melodic minor, in its ascending form (this is old-school, there's been 'jazz minor' for quite a while now which in one reading is simply that object, either direction) that contains F#.

[jancivil]

could be interpreted as a half-diminished F#, but because it has a fifth, the 6 version will generally sound more stable. (however, context is everything so it might not).

F#ø7 contains the very same notes and intervals as Am6 though, A - E is still a perfect fifth.

in the for instance open position on a guitar Am6 spelled A E G C F#, or like that, probably true that that voicing will appear less 'tense' or something to some people than some other ideas of this tetrad might, and maybe should just be considered to have its own identity and not need to be any half-diminished

[excuse me please]

In your more academic theory, a chord 'of the sixth' in that form is pretty much considered a duplication of or even a misspelling of the seventh chord off that sixth. EG: F# A C E in first inversion. In fact, a tertial harmony in first inversion is known as a 'six chord'.

In swing era jazz, and subsequently in pop, the Add 6 became rather prevalent and is a thing in itself. I've never heard a full-on dismissal of a minor chord adding a minor 6 in strict terms as I seem to have just seen, but there, A C E F is going to be an F^7 chord in first inversion anyway so it's more or less that, a misspelling regardless of style considerations.

As to it can't be something in A minor, guess what? Key of A minor has a form known as melodic minor, in its ascending form (this is old-school, there's been 'jazz minor' for quite a while now which in one reading is simply that object, either direction) that contains F#.

Classic theory just does not like Minor lol

A B C D E F# G A, sounds minor to me.
A B C D E F G# A, " "
A B C D E F# G# A, " "

[jancivil]

Hi, can someone explain why the Am6 chord is made up of the notes A, C, E, F# instead of A, C, E and F? My confusion arises when I understand that, in the A Minor Natural Scale, the F is natural. Why is it that when we use the chord symbol, the 6th becomes #?

Aside from the argument A C E F is really FMaj7, it's conventional. Even so, I have on numerous occasions seen minor/minor 6 (eg., Am -6 or "b6"), albeit I would avoid.

For instance, I don't know why a major chord with a minor sixth placed therein can't be considered A (add-6) or like that, if we follow the same argument that Am6 is a thing, itself, rather than a misspelled F#ø7 (F#m7b5). A C# E F, however may be more simply named F+5^7 in first inversion by the same token.

But these are pop lead sheets and/or jazz fake book designations, the names such as they are are conventions of that music.