Episode 23 will review how the vi chord can function as a tonic or predominant chord.
Episode 23 will review how the vi chord can function as a tonic or predominant chord (0:56). We will look at three examples Pachabel’s Canon (1:57), Heart and Soul (4:39) and Can’t Stop the Feeling (5:42).
Question of the day: In a major key, without any accidentals, would the six chord appear minor or major? (7:59)
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap The vi (VI) chord
Lets Zoom out:
We’re in Unit 5 - Harmony and Voice Leading II: Chord Progressions and Predominant Function
Topic 5.2
Our Big idea is pitch.
We will be looking at how the six chord functions in music, whether it be minor or major, or augmented. Sometimes the six chord acts like an alternate tonic chord. Other times, the six chord acts as a weaker predominant chord.
Lets Zoom in:
The six chord has scale degrees 6, 1, and 3. It helps to share two
pitches of the tonic chord to help with the feeling of an alternate
tonic chord, which has 1, 3, and 5. We can view the six chord as
weaker predominant chord when it leads into a dominant chord.
When using a six chords as a predominant, it tends to resolve
nicely to a dominant seventh chord. It goes from 6/1/3 voice
leading into 5/7/2/4. In this instance, the sixth scale degree
leads into both the 5th scale degree and the 7th scale degree.
Then the 1st and 3rd scale degree move up to the 2nd and 4th to
fill out the dominant chord.
In order to understand the different functions of six chords, we will
be looking at three examples of music from vastly different genres
and times. Pachelbel’s canon demonstrates the six chord as it would function
as an alternate tonic chord. The progression is D, A, Bm, F#m, G, D, G, A.
Or, I, V, vi, iii, IV, I, IV, V. The melody at the beginning is F# E D C# B A B C#
The Bm, vi chord, aligns with the tonic note D in the melody.
Here is a fun way to remember this example, the “Taco Bell
Canon”
Heart and Soul, ah one of those classic firsts people learn on the
piano. Much preferred over chopsticks don’t you agree? Instead
of the piano version you’ve undoubtedly have heard many times,
let’s use this fabulous version performed by Larry Clinton & His
Orchestra, with Helen Ward featured on vocals.
This example of the vi chord very clearly acts as an alternate tonic chord, as the melody is still hanging out on the tonic when the six chord comes in as the second chord. The progression is I, vi, IV, V.
Justin Timberlake’s “Can’t Stop the Feeling” is a neat example where the vi chord has both functions, tonic and predominant. The chord progression for the verses and chorus of the song is C, Am, F, Am or I, vi, IV, vi. It also makes it a great song for students who are first learning to play chords. If you’d like to play along with this song, you would do that chord progression over and over again, and take a break only during the bridge where there are other chords. (Cover of song).
For extra credit on sixth chords, take a look at all of the different types of augmented sixth chords: Italian (b6, 1, #4), French (b6, 1, added 2,#4) and German (b6, 1, added b3, #4). The names of these chords have no direct link to these cultures, but have seemed to have stuck through the music theory years.
To recap……
The vi (VI) chord acts like an alternate tonic chord or as a weaker predominant chord. Examples include Pachelbel’s Canon, Heart and Soul, and Can’t Stop the Feeling.
Coming up next on the Apsolute RecAP Music Theory Edition: The iii (III) chord
Today’s Question of the day is about the six chord.
Question: In a major key, without any accidentals, would the six chord appear minor or major?