Using 6th Chords in Jazz Improvisation

Welcome to this month’s workshop, where we explore the role of 6th chords in jazz improvisation. In this lesson, we examine how major and minor 6th chords function as improvisational tools and how they can be applied over different harmonic contexts.

By the end of this session, you’ll have a deeper understanding of how to incorporate 6th chords into your playing, whether you’re a beginner looking to build a strong foundation or an advanced player seeking new harmonic possibilities.

Understanding the 6th Chord Structure

A 6th chord is built by adding the 6th degree of the scale to a major or minor triad. For example, in the key of C:

• C6 consists of C, E, G, and A.
• C-6 consists of C, Eb, G, and A.

Barry Harris’ harmonic system heavily utilizes 6th chords as they provide a strong, melodic framework for improvisation. Unlike traditional scale-based approaches, thinking in terms of 6th chords helps create smoother, more voice-led lines.

Applying 6th Chords in Improvisation

Instead of relying on scales, this approach treats chord tones as the core of improvisation. The 6th chord offers a four-note structure that resembles a pentatonic scale but provides richer harmonic possibilities.

For example, over a Cmaj7, you can use:

• C6, which naturally fits over the tonic major chord.
• G6, which introduces upper extensions like the 9th.

Similarly, for A-7, you can use:

• C6, since A minor is the relative minor of C major.

By recognizing these relationships, you can simplify improvisation and create more melodic, connected lines.

6th Chords and Dominant Chords

6th chords also function effectively over dominant 7th chords.
For example, over G7, you can use:

• D-6, as it shares common tones with G7 (D, F, A, B).
• Ab-6, which introduces an altered sound when resolving to C major.

This concept extends to tritone substitutions, where the altered dominant sound is derived from a minor 6th chord built a half step above the dominant root.

For C7, you can use:

• G-6 (the diatonic minor).
• Db-6 (tritone substitution, creating an altered sound).

6th Chords for Minor ii-V-i Progressions

In minor ii-V-i progressions, the minor ii chord can be replaced by a 6th chord.
For example, in a D-7b5 → G7 → C- progression:

• D-7b5 can be played as F-6.
• G7 can be played using Ab-6 (creating an altered dominant).

This approach simplifies chord substitutions while maintaining strong voice leading.

Practice Tips

1. Visualize 6th Chords – Identify the major and minor 6th chords that work over common chord progressions.
2. Experiment Over ii-V-I – Practice using 6th chords instead of scales in ii-V-I progressions.
3. Use Approach Notes – Add chromatic approach notes to chord tones for smoother lines.
4. Explore Tritone Substitutions – Try minor 6th chords built a half step above the dominant for altered sounds.
5. Transpose Across Keys – Apply these concepts in different keys to build fluency in improvisation.

By integrating 6th chords into your improvisation, you can achieve a more melodic, harmonically rich approach to jazz soloing. Keep practicing, and experiment with these ideas in your playing!