# "Romantic Harmony" example; Why does it work?

I was reading some of Ted Greene's work and came across this PDF

http://www.tedgreene.com/images/lessons/chords/RomanticHarmony.pdf

In it, he goes from a vi6 chord (this 6 doesn't mean first inversion, it means the chord with an added major sixth, in this case spelled tonic-major sixth-minor third-fifth) to a I chord. I.e. from a Cm6 chord (spelled C-A-Eb-G) to Eb (spelled Bb-Bb-Eb-G).

I can't understand how this makes sense in the context of tonal harmony. Any help?

• I don't know a lot about this, but one thing that is immediately clear is the major sixth of the vi6 chord is a leading tone to the fifth degree of the tonic. Another question is why that's not called a half diminished 7th chord instead. Commented Dec 1, 2017 at 23:11
• Oh, a half diminished seventh has the diminished fifth and the minor seventh. There should be a name for the chord with a minor third, perfect fifth, and diminished seventh. Commented Dec 1, 2017 at 23:35
• I'm not sure I understand, by diminished seventh you mean minor 7th? Commented Dec 1, 2017 at 23:53
• @ToddWilcox -- "There should be a name for the chord with a minor third, perfect fifth, and diminished seventh": parallel with minor major seventh would be minor diminished seventh.
– user39614
Commented Dec 2, 2017 at 11:30
• @DavidBowling - reason I posted is that minor major seventh can't be the same as minor diminished seventh, as one has m7, the other d7, which gives a different note, not only in name, but sound. Agreed, the 'm6' could be 'md7', but not mM7.
– Tim
Commented Dec 3, 2017 at 11:29