e- 1
b- 3
g- 1
d- 3
a- 3
e- 1

I know that chord is an Fm6
But what is this chord and how to do they relate? What makes them work together??


Effectively it's an Amaj7 chord with a flat 5, but it retains it's original major triad.
So that makes it a #11? Amaj7#11?

And my theory on how it translates, which I don't really know how to explain in technical terms, is basically they have the same core notes (Ab, C, D, Eb), its just the F moves up to a G
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness
If you choose to be in the key of F minor (your first chord is a simple minor sixth chord, which is more prone to be a stable tonic), the other chord - the Abmaj7add#11 - plays the role of the mediant, or IIIrd degree in your progression. A tonic followed by a mediant doesn't bring a lot of movement in a progression, since, as you said, only the F changes to a G. The only way to bring more life to these chords is to add extensions.

What's interesting is that this G note (major seventh) in the second chord is placed over the augmented eleventh extension (D), at a distance of a perfect forth to it, creating a sort of clash between the lower and the upper part of the chord. This tension, brought by the tritone between the tonic, Ab, and the #11, D and also by the major seventh interval with G, can be partially resolve simply by changing the bass note of the Abmaj7add#11 chord from Ab up to Bb (harder to play tought...). The « upper » part of the chord now has a minor note in the bass, forming a hidden ii degree into your chord now simply called Ab7M#11.

What could sound good is to use this hidden ii degree feature (which has a sub-dominant fonction) to move from your unstable or more stable version of Abmaj7[add]#11 to a G7. The high G will have its role change suddenly from major seventh to the root note of a dominant chord. And after, play a nice Ab6add9 (while its name may look like the Abmaj7 chord, his role in the progression is now has a new tonic).

To come back to the original Fm6 you've proposed, I'll add a jazzy twist. Cb7add13. Cb is not even a note included in the F minor scale, and I just cannot explain why this one but I like how it loops the progression.

Fm6 - Ab7M#11 - G7 - Ab6add9 - Cb7add13

e-| 1 3 3 6 4 |
B-| 3 3 6 4 4 :|
G-| 1 5 4 3 2 |
D-| 3 6 3 3 4 |
A-| 3 6 5 3 2 :|
E-| 1 6 3 4 |
Last edited by Atompacman at Jan 18, 2012,
TS, are those chords in the context of a larger progression, or just random ones you're trying to figure out?

Anywayz, they are the ii and IV chords in Eb major. For more manageable voicings, try

With a bass player hitting the root, the last two will sound good. The chords will sound full with the bass.
Last edited by mdc at Jan 18, 2012,
Yours truly = ninja'd. Nice one!

For a fully fledged IV chord, with all the trimmings. Abmaj13#11, R 5 13 3 #11 7 (couldn't get the Bb as well, unfortunately.

Wouldn't it be cool if, in a polychord, you could label one of the chords in it's inversion lol.




*proceeds to go and transcribe some Taylor Swift chords for guitar lesson tonight*
Hendrix style (thumb over) with the hand at an angle... big time. I can't quite do it.
It's in a John Frusciante song, I forget which one though,

And I'm trying to figure out your symbols ha, I haven't studied theory in so long

^viiob and IV

it's seems a minor 7th, but does that circle make it diminished and the b make it a flat somewhere, somehow?

I thought all 7ths were diminished, when it comes to being the 7th chord form the root?
Correct me if I'm wrong, I couldn't find any sources online or in my notes
(just taking that concept from the idea of chords being in this sort of order. I, ii, iii, IV, V, vi, viio) That whole thing, how 5ths are dominant

but since we're in EbM, the Fm would be a ii and the Ab a IV, or is the ii and Vii an inversion?
And we will weave in and out of sanity unnoticed
Swirling in blissfully restless visions of all our bleary progress
Glowing in radiant madness