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I have encountered the claim that b6 chords are often a misinterpretation of a Maj7th chord with the third in the bass... It seems fairly reasonable but my head wants to revert to the b6 (or b13 maybe) in the following modulation from B minor to C minor:

Bm (add9) | GmΔ7 | DΔ (11)/G | F#m(b6, add9) | Em(b6, add9) | Am(b6, add9) EΔ7/G# GMaj7/B | Cm

Do these b6's in fact make sense? Maybe b13 would make more sense (but I used flat 6 since the fifth is placed in a higher octave) or would you vote for replacing them with:

DΔ#11/F# | CΔ#11/E | FΔ#11/A If so, what are your arguments?

I have a fair grasp with theory as in WHAT chords, chords are on their own, but sometimes I get lost as to what their "functions" would be and thus become a bit confused with what to call them.

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    Side note: judging by the chords in the example, you probably already know that the term "functions" is pretty hard to apply to this chord sequence :)
    – user45266
    Commented Apr 30, 2021 at 17:46

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I don't think there is a big problem with either version. Where is the root of each chord may depend on the voicing used, and you are the best person to answer where you hear the root of each chord.

Note also, that chord symbols don't always have to indicate the roots of the chords. They primarily serve as an efficient way to communicate what notes to play.

Without additional information, my personal preference would be the second notation, with Δ#11 chords. They seem more straight forward to interpret and I think they appear commonly in scores. "add9" puzzles me a bit more, because it makes me wonder: is it really important that I don't play 7, or is it just a specific voicing the arranger had in mind?

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  • Thanks for your answer! It makes sense and like you probably guessed I have used the root of the voicings as the root of the chords here. But I agree that it might be more straight forward to use "common" notations if I am to give it to someone else to read. and as a note on the add9 chords, here it is important to leave out 7 as the focus is strictly on the semitone dissonance created when voicing it with the third stacked just above the ninth. Like 1-5-9-3 (or 1-b6-9-3-5-(1) in the b6add9 case). Adding the 7 simply adds a colour that takes away some of the gloomy vibe. Thanks again!
    – Avgrundsdjur
    Commented Apr 30, 2021 at 18:58

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