Sometimes It Sounds Bad Even Without Using Avoid Notes
Last time we learned the structure of major sixth and minor sixth chords, and this time we'll reveal why we wanted to introduce sixth chords following on from avoid notes.
First, please listen to this.
There are places where the melody and chords don't sound good together.
Let's check it on the score and the piano roll.
Check it together with the audio, paying particular attention to the boxed parts.
Checking it this way, you can see that no avoid notes are being used prominently.
So why does it sound bad?
Let's isolate each part and listen.
- The Fmaj7 part (the melody's top note is F)
- The Cmaj7 part (the melody's top note is C)
Both have in common that they are major seventh chords with the root as the melody's top note.
Some of you may have noticed already: the M7th (7) of the major seventh chord (R M3rd P5th M7th / 1 3 5 7) creates a muddy sound with the melody's R (1).
This time we deliberately played the chord and melody together in a very prominent way, so it sounds especially bad, but you do sometimes end up with this kind of structure while composing.
Cleaning Up the Sound with Sixth Chords
So how should you deal with it?
There are several ways, but the simplest is to turn the chord into a triad.
The bad sound is gone, replaced by the clear, transparent brightness characteristic of major chords.
If the sound feels too simple, you can also use the major sixth chord from last time.
Here, C6 is used as a substitute for Imaj7 in the key of C major.
In this case, it is written as I6 (one six).
- Key = C major: IIm7 → IIIm7 → IV → V7 → I6 (Dm7 → Em7 → F → G7 → C6)
Making only the last chord a sixth may feel like an abrupt change of mood, but with a few touches to the preceding chords, you can connect it smoothly.
We'll introduce chord techniques like this later, so for now just keep in mind the possibility of using sixth chords to make melodies sound beautiful.
Major Sixth Chords You Can Build from the Major Scale
Now, let's look for major sixth chords that can be built using only the notes of the scale on the diatonic chords built from the major scale.
As you can see, you can build major sixth chords on I, IV and V.
Of course you can use them as substitutes, but keep in mind that V6 contains no tritone, so it is weak as a dominant.
- C → G7 → C
- C → G6 → C
As another idea, it's also interesting to alternate them with major seventh chords.
When doing so, think about the melody while paying attention to the top note.
When you find sixth chords while analyzing songs, be sure to check their relationship with the melody too.
Next time, we return to chords and song structure and focus on "cadences."
Frequently Asked Questions
Q1. Why do the melody and chord sound muddy with a major seventh chord?
When the M7th of a major seventh chord (R-M3rd-P5th-M7th) sounds together with the root in the melody, the interval becomes narrow and creates a muddy sound. It's important to be aware of the relationship with the top note.
Q2. How can I improve a melody and chord that sound bad together?
The simplest way is to reduce the chord to a triad (three notes). Alternatively, you can use a major sixth chord as a substitute (for example, changing Imaj7 to I6) to make it sound smooth.
Q3. What should I watch out for when using V6 (dominant sixth)?
V6 contains no tritone, so its dominant function is weakened. If you want a sense of resolution, V7 is appropriate. Use V6 in situations that call for a special effect.
Q4. Where can sixth chords be built on the major scale?
On the diatonic chords of the major scale, major sixth chords can be built in the I6, IV6 and V6 positions. They are natural chord options completed using only notes within the scale.
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