Construction
| Note | Interval | Degree |
|---|---|---|
| C♯ | Root | 1 |
| E | Minor 3rd | ♭3 |
| G♯ | Perfect 5th | 5 |
| A♯ | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C♯ | black | index finger (2) | little finger (5) |
| E | white | middle finger (3) | ring finger (4) |
| G♯ | black | ring finger (4) | middle finger (3) |
| A♯ | black | little finger (5) | index finger (2) |
Right hand: index finger (2) on C♯, middle finger (3) on E, ring finger (4) on G♯, little finger (5) on A♯.
Left hand: little finger (5) on C♯, ring finger (4) on E, middle finger (3) on G♯, index finger (2) on A♯.
C♯ Minor 6th Inversions
- Root positionC♯ – E – G♯ – A♯
- 1st inversion (C♯m6/E)E – G♯ – A♯ – C♯
- 2nd inversion (C♯m6/G♯)G♯ – A♯ – C♯ – E
- 3rd inversion (C♯m6/A♯)A♯ – C♯ – E – G♯
Key Signature
A chord has no key signature of its own, but the C♯ Minor 6th is the tonic (i) chord of C♯ Minor, which shares the signature of its relative major, E Major: 4 sharps (F♯, C♯, G♯, D♯).
Order of sharps
Sharps are added to a key signature in a fixed order. Each new sharp key adds the next sharp on the list.
Mnemonic: Father Charles Goes Down And Ends Battle
Chords in the Key of C♯ Minor
These are the triads built on each degree of C♯ Minor:
Scales That Include the C♯ Minor 6th
- B Major (ii)
- G# Minor (iv)
- C# Dorian (i)
- D# Phrygian (vii)
- E Lydian (vi)
- F# Mixolydian (v)
- G# Aeolian (iv)
- A# Locrian (iii)
Same Notes, Other Names
The notes C♯ – E – G♯ – A♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
C♯ Minor 6th : Frequently Asked Questions
What is the C♯ Minor 6th chord on piano?
What is the C# piano chord?
What notes are in the C# Minor 6th chord?
How is the C# Minor 6th chord used in music?
What is the fingering for C# Minor 6th?
What are the inversions of C# Minor 6th?
What is the descending chromatic line?
C♯ Minor 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 | C♯3 E3 G♯3 A♯3 | 9 | 124 mm | none | identical | |
| Close, first inversion | E3 G♯3 A♯3 C♯4 | 9 | 124 mm | none | identical | |
| Close, second inversion | G♯3 A♯3 C♯4 E4 | 8 | 110 mm | none | identical | |
| Close, third inversion | A♯3 C♯4 E4 G♯4 | 10 | 138 mm | none | identical | |
| Drop 2 | G♯2 C♯3 E3 A♯3 | 14 | 193 mm | none | identical | |
| Drop 3 | E2 C♯3 G♯3 A♯3 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | C♯2 G♯2 E3 A♯3 | 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 | C♯2 A♯2 E3 | 15 | 206 mm | omits G♯ | subset | |
| Guide tones, ♭3 and 6 | E3 A♯3 | 6 | 83 mm | omits C♯ and G♯ | subset | |
| Rootless close | E3 G♯3 A♯3 | 6 | 83 mm | omits C♯ | 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 | C♯ | C♯3, E3, G♯3, A♯3 | 7 | 9 | 124 mm |
| First inversion: C♯m6/E | E | E3, G♯3, A♯3, C♯4 | 6/5 | 9 | 124 mm |
| Second inversion: C♯m6/G♯ | G♯ | G♯3, A♯3, C♯4, E4 | 4/3 | 8 | 110 mm |
| Third inversion: C♯m6/A♯ | A♯ | A♯3, C♯4, E4, G♯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 |
|---|---|---|---|
| C♯m | drops A♯ | 1 ♭3 5 | 3 |
| C♯m7 | A♯ becomes B | 1 ♭3 5 ♭7 | 3 |
| C♯mMaj7 | A♯ becomes B♯ | 1 ♭3 5 7 | 3 |
| C♯dim7 | G♯ becomes G | 1 ♭3 ♭5 ♭♭7 | 3 |
| C♯6 | E becomes E♯ | 1 3 5 6 | 3 |
| C♯m9 | A♯ becomes B, D♯ | 1 ♭3 5 ♭7 9 | 3 |
| C♯ | E, A♯ becomes E♯ | 1 3 5 | 2 |
| C♯dim | G♯, A♯ becomes G | 1 ♭3 ♭5 | 2 |
| C♯sus2 | E, A♯ becomes D♯ | 1 2 5 | 2 |
| C♯sus4 | E, A♯ becomes F♯ | 1 4 5 | 2 |
| C♯maj7 | E, A♯ becomes E♯, B♯ | 1 3 5 7 | 2 |
| C♯7 | E, A♯ becomes E♯, B | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C♯3 | 49 | 138.59 Hz |
| E3 | 52 | 164.81 Hz |
| G♯3 | 56 | 207.65 Hz |
| A♯3 | 58 | 233.08 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {1, 4, 8, 10}
- Normal order
- [8, 10, 1, 4]
- Prime form
- (0258)
- Forte number
- 4-27
- Interval vector
- <012111>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C♯ to E | Minor third | 3 | 3 |
| C♯ to G♯ | Perfect fifth | 7 | 5 |
| C♯ to A♯ | Major sixth | 9 | 3 |
| E to G♯ | Major third | 4 | 4 |
| E to A♯ | Tritone | 6 | 6 |
| G♯ to A♯ | Major second | 2 | 2 |
Where these facts come from
Every value on this page is derived from the note formula for a minor 6th applied to the root C♯, 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.