In this way, it acts generally like a borrowed chord of the parallel mode in this context, because it belongs to the minor harmonic field. As this chord appears many times in songs, we dedicated a specific topic to speak about it. Generally the fourth minor degree appears with an additional sixth (IVm6), because this produces a pleasant sonority to this chord.
How to improvise using the IVm6 chord?
This second option is a secret rarely known, and we will (as always) explain why this is possible.
- Fm6 notes: F, C, D, G#
- Bb7 notes: Bb, C, D, G#
Notice as this two chords have the 3 identical notes, being different just in the tonic. The main similarity here is that Fm6 has the tritone of Bb7, which is made by the notes D and G#. Therefore, Fm6 can be understood as a dominant (in this case, the dominant V7 of Eb, due the fact that Bb7 is one fifth above Eb). You can also notice that Eb is the relative major of Cm.
Very well, as Fm6 is acting like Bb7, we can use the melodic minor scale one fifth above Bb7 (if you don’t remember this resource, read the topic “Melodic Minor Scale”).
But the fifth degree of Bb7 is the F itself, because this we can use the melodic minor scale of F in Fm6 in this context.
Let’s show below an example of application of this concept by Guitar Pro (took from the topic AEM):
Base: | C | Fmaj7 Fm6 | C |
Listen the melodic minor scale of F in Fm6 in this context and take your own conclusions!
Notice now the first part of the song “Trem de Cores” by Caetano Veloso. We will show only the first chords of the song to prove that this resource of fourth minor degree is really used:
| D D(#5) G7M | Em Gm6 |
In the second bar line, Gm6 chord is acting like IVm6, because the tonality is D major.
Our intention is to improve even more this website, giving more practical examples and analyzing more songs.
You can help to enrich Simplifying Theory divulgating the website and sending your own ideas of solos to this and other themes. Take part on it!
Go to: Module 11
Back to: Module 10