Construction
| Note | Interval | Degree |
|---|---|---|
| E♭ | Root | 1 |
| G | Major 3rd | 3 |
| B♭ | Perfect 5th | 5 |
| C | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| E♭ | black | index finger (2) | little finger (5) |
| G | white | middle finger (3) | ring finger (4) |
| B♭ | black | ring finger (4) | middle finger (3) |
| C | white | little finger (5) | index finger (2) |
Right hand: index finger (2) on E♭, middle finger (3) on G, ring finger (4) on B♭, little finger (5) on C.
Left hand: little finger (5) on E♭, ring finger (4) on G, middle finger (3) on B♭, index finger (2) on C.
E♭ Major 6 Inversions
- Root positionE♭ – G – B♭ – C
- 1st inversion (E♭6/G)G – B♭ – C – E♭
- 2nd inversion (E♭6/B♭)B♭ – C – E♭ – G
- 3rd inversion (E♭6/C)C – E♭ – G – B♭
Key Signature
A chord has no key signature of its own, but the E♭ Major 6 is the tonic (I) chord of E♭ Major, whose key signature has 3 flats (B♭, E♭, A♭).
Order of flats
Flats are added in a fixed order — the reverse of the sharp order. Each new flat key adds the next flat on the list.
Mnemonic: Battle Ends And Down Goes Charles’ Father
Chords in the Key of E♭ Major
These are the triads built on each degree of E♭ Major:
Same Notes, Other Names
The notes E♭ – G – B♭ – C aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
E♭ Major 6 : Frequently Asked Questions
What is the E♭ Major 6 chord on piano?
What notes are in the Eb Major 6 chord?
How does Eb6 differ from Ebmaj7?
How does Eb6 differ from Cm7?
How is Eb6 used?
What songs use Major 6th?
Can I substitute Eb6 for Eb Major?
E♭ Major 6th in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | E♭3 G3 B♭3 C4 | 9 | 124 mm | none | identical | |
| Close, first inversion | G3 B♭3 C4 E♭4 | 8 | 110 mm | none | identical | |
| Close, second inversion | B♭3 C4 E♭4 G4 | 9 | 124 mm | none | identical | |
| Close, third inversion | C4 E♭4 G4 B♭4 | 10 | 138 mm | none | identical | |
| Drop 2 | B♭2 E♭3 G3 C4 | 14 | 193 mm | none | identical | |
| Drop 3 | G2 E♭3 B♭3 C4 | 17 | 234 mm | none | identical | |
| Drop 2 and 4 | E♭2 B♭2 G3 C4 | 21 | 289 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Shell, root 6 3 | E♭2 C3 G3 | 16 | 220 mm | omits B♭ | subset | |
| Guide tones, 3 and 6 | G3 C4 | 5 | 69 mm | omits E♭ and B♭ | subset | |
| Rootless close | G3 B♭3 C4 | 5 | 69 mm | omits E♭ | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | E♭ | E♭3, G3, B♭3, C4 | 7 | 9 | 124 mm |
| First inversion: E♭6/G | G | G3, B♭3, C4, E♭4 | 6/5 | 8 | 110 mm |
| Second inversion: E♭6/B♭ | B♭ | B♭3, C4, E♭4, G4 | 4/3 | 9 | 124 mm |
| Third inversion: E♭6/C | C | C4, E♭4, G4, B♭4 | 4/2 | 10 | 138 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| E♭ | drops C | 1 3 5 | 3 |
| E♭maj7 | C becomes D | 1 3 5 7 | 3 |
| E♭7 | C becomes D♭ | 1 3 5 ♭7 | 3 |
| E♭m6 | G becomes G♭ | 1 ♭3 5 6 | 3 |
| E♭add9 | C becomes F | 1 3 5 9 | 3 |
| E♭maj9 | C becomes D, F | 1 3 5 7 9 | 3 |
| E♭9 | C becomes D♭, F | 1 3 5 ♭7 9 | 3 |
| E♭m | G, C becomes G♭ | 1 ♭3 5 | 2 |
| E♭aug | B♭, C becomes B | 1 3 ♯5 | 2 |
| E♭sus2 | G, C becomes F | 1 2 5 | 2 |
| E♭sus4 | G, C becomes A♭ | 1 4 5 | 2 |
| E♭m7 | G, C becomes G♭, D♭ | 1 ♭3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| E♭3 | 51 | 155.56 Hz |
| G3 | 55 | 196.00 Hz |
| B♭3 | 58 | 233.08 Hz |
| C4 | 60 | 261.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {3, 7, 10, 0}
- Normal order
- [7, 10, 0, 3]
- Prime form
- (0358)
- Forte number
- 4-26
- Interval vector
- <012120>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| E♭ to G | Major third | 4 | 4 |
| E♭ to B♭ | Perfect fifth | 7 | 5 |
| E♭ to C | Major sixth | 9 | 3 |
| G to B♭ | Minor third | 3 | 3 |
| G to C | Perfect fourth | 5 | 5 |
| B♭ to C | Major second | 2 | 2 |
Where these facts come from
Every value on this page is derived from the note formula for a major 6th applied to the root E♭, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.