The distance spanning six note names, with 9 semitones between them.
Real tracks where you can hear this interval and practice it with movable-do syllables.
Chords whose formulas include this interval from the root note.
Scales whose formulas include this interval.
Intervals with a comparable quality and character.
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The first two notes of the melody form a major sixth. This repeats itself many times in the verse.
This is a song for all female Sonid-fans! The first time Carole King sings 'CAUSE-YOU make me feel you can hear the major sixth.
In the beginning of the first two sentences of the verse you can hear the major sixth.
In this Jazz Stand you'll hear the major sixth in the first two notes of the verse.
After the Do-Do-Do-Do-Do intro you can hear the major sixth when Stevie sings A-ROUND and THE-ROSEBUDS in the second sentence. You can hear the iterval several times in the verses.
In the verse you'll hear a major sixth in the first two notes of the first sentence (WE-SKIPPED) en of the fourth sentence (THE-CROWD).
When Phil sings EVERYTHING you'll hear a descending and ascending major sixth. This repeats itself throughout the song.
Let's start dancing with Sir Paul Simon. The first two notes THE-MISS en afterwards WAS-SHINING form a major sixth.
You'll hear the major sixth in the chorus, when Let it be is sang for the fourth time.
In this lovely song you'll hear the major sixth several times. Every time Bob Marley sings 'CAUSE-EVERY little thing, he jumps from an A to an F, which forms a major sixth.
The major sixth (M6) is a consonant interval with a warm, lyrical color. It spans 9 semitones and appears often in melodies, chord extensions, and smooth voice leading.
M6 runs from a note to its sixth letter name, such as C to A, F to D, or D to B. It belongs to the major/minor interval family. Correct spelling keeps harmonic function and tonal context clear.
Melodically, M6 leaps sound expressive and singing-friendly, common in lyrical themes. Harmonically, sixth relationships appear in first inversion sonorities and in 6-chord colors. In arranging, M6 contributes warmth without strong dissonant pull.
Practice M6 ascending and descending from many roots and sing it against drones to lock intonation. Compare M6 with m6 to hear brightness versus darker color. Reliable M6 recognition improves melodic phrasing and harmonic awareness.