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 | white | thumb (1) | little finger (5) |
| B♭ | black | index finger (2) | middle finger (3) |
| D | white | middle finger (3) | index finger (2) |
| E | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on G, index finger (2) on B♭, middle finger (3) on D, little finger (5) on E.
Left hand: little finger (5) on G, middle finger (3) on B♭, index finger (2) on D, thumb (1) on E.
G Minor 6th Inversions
- Root positionG – B♭ – D – E
- 1st inversion (Gm6/B♭)B♭ – D – E – G
- 2nd inversion (Gm6/D)D – E – G – B♭
- 3rd inversion (Gm6/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: 2 flats (B♭, E♭).
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 G Minor
These are the triads built on each degree of G Minor:
Scales That Include the G Minor 6th
- F Major (ii)
- D Minor (iv)
- G Dorian (i)
- A Phrygian (vii)
- Bb 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 notes are in the G Minor 6th chord?
How does Gm6 differ from Gm7?
How is Gm6 used?
Is Gm6 the same as Em7b5?
What songs use Minor 6th?
How does Gm6 differ from G6?
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 | G3 B♭3 D4 E4 | 9 | 124 mm | none | identical | |
| Close, first inversion | B♭3 D4 E4 G4 | 9 | 124 mm | none | identical | |
| Close, second inversion | D4 E4 G4 B♭4 | 8 | 110 mm | none | identical | |
| Close, third inversion | E4 G4 B♭4 D5 | 10 | 138 mm | none | identical | |
| Drop 2 | D3 G3 B♭3 E4 | 14 | 193 mm | none | identical | |
| Drop 3 | B♭2 G3 D4 E4 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | G2 D3 B♭3 E4 | 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 | G2 E3 B♭3 | 15 | 206 mm | omits D | subset | |
| Guide tones, ♭3 and 6 | B♭3 E4 | 6 | 83 mm | omits G and D | subset | |
| Rootless close | B♭3 D4 E4 | 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 | G3, B♭3, D4, E4 | 7 | 9 | 124 mm |
| First inversion: Gm6/B♭ | B♭ | B♭3, D4, E4, G4 | 6/5 | 9 | 124 mm |
| Second inversion: Gm6/D | D | D4, E4, G4, B♭4 | 4/3 | 8 | 110 mm |
| Third inversion: Gm6/E | E | E4, G4, B♭4, D5 | 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 |
|---|---|---|---|
| Gm | drops E | 1 ♭3 5 | 3 |
| Gm7 | E becomes F | 1 ♭3 5 ♭7 | 3 |
| GmMaj7 | E becomes F♯ | 1 ♭3 5 7 | 3 |
| Gdim7 | D becomes D♭ | 1 ♭3 ♭5 ♭♭7 | 3 |
| G6 | B♭ becomes B | 1 3 5 6 | 3 |
| Gm9 | E becomes F, A | 1 ♭3 5 ♭7 9 | 3 |
| G | B♭, E becomes B | 1 3 5 | 2 |
| Gdim | D, E becomes D♭ | 1 ♭3 ♭5 | 2 |
| Gsus2 | B♭, E becomes A | 1 2 5 | 2 |
| Gsus4 | B♭, E becomes C | 1 4 5 | 2 |
| Gmaj7 | B♭, E becomes B, F♯ | 1 3 5 7 | 2 |
| G7 | B♭, E becomes B, F | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| G3 | 55 | 196.00 Hz |
| B♭3 | 58 | 233.08 Hz |
| D4 | 62 | 293.66 Hz |
| E4 | 64 | 329.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {7, 10, 2, 4}
- Normal order
- [2, 4, 7, 10]
- 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.