Bb6 Chord

Start with B flat-D-F, the B flat major triad. Add G to make B flat-D-F-G. The sixth is nine semitones above the root when counted within the octave. On the keyboard, identify G first, then remove and restore it while holding the triad.

A chord symbol such as Bb6 names four pitch classes, not a mandatory hand shape. You may spread the notes across both hands. The higher the added sixth sits, the easier it can be to pick out against a low root.

Move the lowest note upward by an octave each time:

The four note names remain the same. Listen to the bass change before you look at your hand. Chord Inversions explains why the lowest sounding note matters in an arrangement.

The two symbols can name the same four pitch classes, but they give the player a different root to hear. With B flat in the bass and a B flat major context, Bb6 is a natural reading. If the harmony instead centers on the relative minor root, the same notes can be heard as Gm7. Play the four notes over those two different bass notes and listen for the shift in center. A bass note and surrounding chords help settle the name.

A major-sixth chord adds G, not a major or minor seventh. Keep B flat-D-F steady and swap the extra note for the seventh of a B flat seventh chord. That makes the distinction audible before any chord symbols appear. Sixth Chord compares the pattern across roots.

Play the B flat Major Chord, then Bb6, then the plain major triad again. Sing G as it appears and disappears. The root stays fixed, so the added note is the only change your ear has to follow.