Construction
| Note | Interval | Degree |
|---|---|---|
| E | Root | 1 |
| G | Minor 3rd | ♭3 |
| B | Perfect 5th | 5 |
| C♯ | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| E | white | thumb (1) | little finger (5) |
| G | white | index finger (2) | middle finger (3) |
| B | white | middle finger (3) | index finger (2) |
| C♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on E, index finger (2) on G, middle finger (3) on B, little finger (5) on C♯.
Left hand: little finger (5) on E, middle finger (3) on G, index finger (2) on B, thumb (1) on C♯.
E Minor 6th Inversions
- Root positionE – G – B – C♯
- 1st inversion (Em6/G)G – B – C♯ – E
- 2nd inversion (Em6/B)B – C♯ – E – G
- 3rd inversion (Em6/C♯)C♯ – E – G – B
Key Signature
A chord has no key signature of its own, but the E Minor 6th is the tonic (i) chord of E Minor, which shares the signature of its relative major, G Major: 1 sharp (F♯).
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 E Minor
These are the triads built on each degree of E Minor:
Scales That Include the E Minor 6th
- D Major (ii)
- B Minor (iv)
- E Dorian (i)
- F# Phrygian (vii)
- G Lydian (vi)
- A Mixolydian (v)
- B Aeolian (iv)
- C# Locrian (iii)
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 Minor 6th : Frequently Asked Questions
What is the E Minor 6th chord on piano?
What notes are in the E Minor 6th chord?
How does Em6 differ from Em7?
How is Em6 used?
Is Em6 the same as C#m7b5?
What songs use Minor 6th?
How does Em6 differ from E6?
E 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 | E3 G3 B3 C♯4 | 9 | 124 mm | none | identical | |
| Close, first inversion | G3 B3 C♯4 E4 | 9 | 124 mm | none | identical | |
| Close, second inversion | B3 C♯4 E4 G4 | 8 | 110 mm | none | identical | |
| Close, third inversion | C♯4 E4 G4 B4 | 10 | 138 mm | none | identical | |
| Drop 2 | B2 E3 G3 C♯4 | 14 | 193 mm | none | identical | |
| Drop 3 | G2 E3 B3 C♯4 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | E2 B2 G3 C♯4 | 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 | E2 C♯3 G3 | 15 | 206 mm | omits B | subset | |
| Guide tones, ♭3 and 6 | G3 C♯4 | 6 | 83 mm | omits E and B | subset | |
| Rootless close | G3 B3 C♯4 | 6 | 83 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 | E3, G3, B3, C♯4 | 7 | 9 | 124 mm |
| First inversion: Em6/G | G | G3, B3, C♯4, E4 | 6/5 | 9 | 124 mm |
| Second inversion: Em6/B | B | B3, C♯4, E4, G4 | 4/3 | 8 | 110 mm |
| Third inversion: Em6/C♯ | C♯ | C♯4, E4, G4, B4 | 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 |
|---|---|---|---|
| Em | drops C♯ | 1 ♭3 5 | 3 |
| Em7 | C♯ becomes D | 1 ♭3 5 ♭7 | 3 |
| EmMaj7 | C♯ becomes D♯ | 1 ♭3 5 7 | 3 |
| Edim7 | B becomes B♭ | 1 ♭3 ♭5 ♭♭7 | 3 |
| E6 | G becomes G♯ | 1 3 5 6 | 3 |
| Em9 | C♯ becomes D, F♯ | 1 ♭3 5 ♭7 9 | 3 |
| E | G, C♯ becomes G♯ | 1 3 5 | 2 |
| Edim | B, C♯ becomes B♭ | 1 ♭3 ♭5 | 2 |
| Esus2 | G, C♯ becomes F♯ | 1 2 5 | 2 |
| Esus4 | G, C♯ becomes A | 1 4 5 | 2 |
| Emaj7 | G, C♯ becomes G♯, D♯ | 1 3 5 7 | 2 |
| E7 | G, C♯ becomes G♯, D | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| E3 | 52 | 164.81 Hz |
| G3 | 55 | 196.00 Hz |
| B3 | 59 | 246.94 Hz |
| C♯4 | 61 | 277.18 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {4, 7, 11, 1}
- Normal order
- [11, 1, 4, 7]
- Prime form
- (0258)
- Forte number
- 4-27
- Interval vector
- <012111>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| E to G | Minor third | 3 | 3 |
| E to B | Perfect fifth | 7 | 5 |
| E to C♯ | Major sixth | 9 | 3 |
| G to B | Major third | 4 | 4 |
| G to C♯ | Tritone | 6 | 6 |
| 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 minor 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.