Added tone chords[edit]

Main article: Added tone chord

Suspended chord (sus2) and added tone chord (add9) both with D (ninth=second), distinguished by the
absence or presence of the third (E).[34]

An added tone chord is a triad chord with an added, non-tertian note, such as the commonly
added sixth as well as chords with an added second (ninth) or fourth (eleventh) or a
combination of the three. These chords do not include "intervening" thirds as in an extended
chord. Added chords can also have variations. Thus madd9, m4 and m6 are minor triads with
extended notes.
Sixth chords can belong to either of two groups. One is first inversion chords and added sixth
chords that contain a sixth from the root. [35] The other group is inverted chords in which the
interval of a sixth appears above a bass note that is not the root. [36]
The major sixth chord (also called, sixth or added sixth with the chord notation 6, e.g., "C6") is
by far the most common type of sixth chord of the first group. It comprises a major triad with the
added major sixth above the root, common in popular music.[7] For example, the chord C6
contains the notes C-E-G-A. The minor sixth chord (min6 or m6, e.g., "Cm6") is a minor triad
with the same added note. For example, the chord Cmin6 contains the notes C-E-G-A. In
chord notation, the sixth of either chord is always assumed a major sixth rather than a minor
sixth, however a minor sixth interval may be indicated in the notation as, for example,
"Cm(m6)", or Cmm6.
The augmented sixth chord usually appears in chord notation as its enharmonic equivalent, the
seventh chord. This chord contains two notes separated by the interval of an augmented sixth
(or, by inversion, a diminished third, though this inversion is rare). The augmented sixth is
generally used as a dissonant interval most commonly used in motion towards a dominant
chord in root position (with the root doubled to create the octave the augmented sixth chord
resolves to) or to a tonic chord in second inversion (a tonic triad with the fifth doubled for the
same purpose). In this case, the tonic note of the key is included in the chord, sometimes along
with an optional fourth note, to create one of the following (illustrated here in the key of C
major):

Italian augmented sixth: A, C, F

French augmented sixth: A, C, D, F

German augmented sixth: A, C, E, F

The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on
triads, as are seventh chords and other sixth chords, they are not generally regarded as having
roots (nor, therefore, inversions), although one re-voicing of the notes is common (with the
namesake interval inverted to create a diminished third). [37]
The second group of sixth chords includes inverted major and minor chords, which may be
called sixth chords in that the six-three (6/3) and six-four (6/4) chords contain intervals of a
sixth with the bass note, though this is not the root. Nowadays this is mostly for academic study
or analysis (see figured bass) but the neapolitan sixth chord is an important example; a major
triad with a flat supertonic scale degree as its root that is called a "sixth" because it is almost
always found in first inversion. Though a technically accurate Roman numeral analysis would
be II, it is generally labelled N6. In C major, the chord is notated (from root position) D, F, A.
Because it uses chromatically altered tones this chord is often grouped with the borrowed
chords (see below) but the chord is not borrowed from the relative major or minor and it may
appear in both major and minor keys.