Construction
| Note | Interval | Degree |
|---|---|---|
| G♯ | Root | 1 |
| B | Minor 3rd | ♭3 |
| D♯ | Perfect 5th | 5 |
| E♯ | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| G♯ | black | index finger (2) | little finger (5) |
| B | white | middle finger (3) | ring finger (4) |
| D♯ | black | ring finger (4) | middle finger (3) |
| E♯ | white | little finger (5) | index finger (2) |
Right hand: index finger (2) on G♯, middle finger (3) on B, ring finger (4) on D♯, little finger (5) on E♯.
Left hand: little finger (5) on G♯, ring finger (4) on B, middle finger (3) on D♯, index finger (2) on E♯.
G♯ Minor 6th Inversions
- Root positionG♯ – B – D♯ – E♯
- 1st inversion (G♯m6/B)B – D♯ – E♯ – G♯
- 2nd inversion (G♯m6/D♯)D♯ – E♯ – G♯ – B
- 3rd inversion (G♯m6/E♯)E♯ – G♯ – B – D♯
Key Signature
A chord has no key signature of its own, but the G♯ Minor 6th is the tonic (i) chord of G♯ Minor, which shares the signature of its relative major, B Major: 5 sharps (F♯, C♯, G♯, D♯, A♯).
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 G♯ Minor
These are the triads built on each degree of G♯ Minor:
Scales That Include the G♯ Minor 6th
- F# Major (ii)
- Eb Minor (iv)
- G# Dorian (i)
- A# Phrygian (vii)
- B Lydian (vi)
- C# Mixolydian (v)
- D# Aeolian (iv)
- E# Locrian (iii)
Same Notes, Other Names
The notes G♯ – B – D♯ – E♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
G♯ Minor 6th : Frequently Asked Questions
What is the G♯ Minor 6th chord on piano?
What is the G# piano chord?
What notes are in the G# Minor 6th chord?
How is the G# Minor 6th chord used in music?
What is the fingering for G# Minor 6th?
What are the inversions of G# Minor 6th?
What is the descending chromatic line?
G♯ 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 | G♯3 B3 D♯4 E♯4 | 9 | 124 mm | none | identical | |
| Close, first inversion | B3 D♯4 E♯4 G♯4 | 9 | 124 mm | none | identical | |
| Close, second inversion | D♯4 E♯4 G♯4 B4 | 8 | 110 mm | none | identical | |
| Close, third inversion | E♯4 G♯4 B4 D♯5 | 10 | 138 mm | none | identical | |
| Drop 2 | D♯3 G♯3 B3 E♯4 | 14 | 193 mm | none | identical | |
| Drop 3 | B2 G♯3 D♯4 E♯4 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | G♯2 D♯3 B3 E♯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 | G♯2 E♯3 B3 | 15 | 206 mm | omits D♯ | subset | |
| Guide tones, ♭3 and 6 | B3 E♯4 | 6 | 83 mm | omits G♯ and D♯ | subset | |
| Rootless close | B3 D♯4 E♯4 | 6 | 83 mm | omits G♯ | 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 | G♯ | G♯3, B3, D♯4, E♯4 | 7 | 9 | 124 mm |
| First inversion: G♯m6/B | B | B3, D♯4, E♯4, G♯4 | 6/5 | 9 | 124 mm |
| Second inversion: G♯m6/D♯ | D♯ | D♯4, E♯4, G♯4, B4 | 4/3 | 8 | 110 mm |
| Third inversion: G♯m6/E♯ | E♯ | E♯4, G♯4, B4, D♯5 | 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 |
|---|---|---|---|
| G♯m | drops E♯ | 1 ♭3 5 | 3 |
| G♯m7 | E♯ becomes F♯ | 1 ♭3 5 ♭7 | 3 |
| G♯mMaj7 | E♯ becomes F× | 1 ♭3 5 7 | 3 |
| G♯dim7 | D♯ becomes D | 1 ♭3 ♭5 ♭♭7 | 3 |
| G♯6 | B becomes B♯ | 1 3 5 6 | 3 |
| G♯m9 | E♯ becomes F♯, A♯ | 1 ♭3 5 ♭7 9 | 3 |
| G♯ | B, E♯ becomes B♯ | 1 3 5 | 2 |
| G♯dim | D♯, E♯ becomes D | 1 ♭3 ♭5 | 2 |
| G♯sus2 | B, E♯ becomes A♯ | 1 2 5 | 2 |
| G♯sus4 | B, E♯ becomes C♯ | 1 4 5 | 2 |
| G♯maj7 | B, E♯ becomes B♯, F× | 1 3 5 7 | 2 |
| G♯7 | B, E♯ becomes B♯, F♯ | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| G♯3 | 56 | 207.65 Hz |
| B3 | 59 | 246.94 Hz |
| D♯4 | 63 | 311.13 Hz |
| E♯4 | 65 | 349.23 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {8, 11, 3, 5}
- Normal order
- [3, 5, 8, 11]
- Prime form
- (0258)
- Forte number
- 4-27
- Interval vector
- <012111>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| G♯ to B | Minor third | 3 | 3 |
| G♯ to D♯ | Perfect fifth | 7 | 5 |
| G♯ to E♯ | Major sixth | 9 | 3 |
| B to D♯ | Major third | 4 | 4 |
| B to E♯ | Tritone | 6 | 6 |
| D♯ to E♯ | 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 G♯, 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.