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Does a minor major 6th chord exist? [duplicate]

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4

This question already has an answer here:

• 
  Labeling half-diminished seventh chords - m7b5 or m6?
  
  3 answers
  
  

I'm playing some chords from a song that goes Fm (F, A♭, C, F on guitar), Fmin7 (E♭, A♭, C, F), and a chord I don't know what to call that uses D, A♭, C, F. This appears to be similar to an Fmin/maj7 chord but with a major 6th instead of a 7th. Could this be called an Fmin/maj6, or would I need to call it something else?

theory chords chord-theory chord-progressions

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asked Jun 10 at 4:13

コナーゲティコナーゲティ

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marked as duplicate by Shevliaskovic, user45266, Richard theory
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This question has been asked before and already has an answer. If those answers do not fully address your question, please ask a new question.

• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  You could describe this as a descending bass line with a simple Fm on top. What happens after the third chord? Depending on where this continues to change how to analyze the chords.
  
  – Michael Curtis
  Jun 10 at 14:23
  

  
  
  
  

add a comment | 

4

This question already has an answer here:

• 
  Labeling half-diminished seventh chords - m7b5 or m6?
  
  3 answers
  
  

I'm playing some chords from a song that goes Fm (F, A♭, C, F on guitar), Fmin7 (E♭, A♭, C, F), and a chord I don't know what to call that uses D, A♭, C, F. This appears to be similar to an Fmin/maj7 chord but with a major 6th instead of a 7th. Could this be called an Fmin/maj6, or would I need to call it something else?

theory chords chord-theory chord-progressions

share|improve this question

asked Jun 10 at 4:13

コナーゲティコナーゲティ

34922 silver badges1111 bronze badges

marked as duplicate by Shevliaskovic, user45266, Richard theory
Users with the  theory badge can single-handedly close theory questions as duplicates and reopen them as needed.

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Jun 10 at 19:27

This question has been asked before and already has an answer. If those answers do not fully address your question, please ask a new question.

• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  You could describe this as a descending bass line with a simple Fm on top. What happens after the third chord? Depending on where this continues to change how to analyze the chords.
  
  – Michael Curtis
  Jun 10 at 14:23
  

  
  
  
  

add a comment | 

This question already has an answer here:

• 
  Labeling half-diminished seventh chords - m7b5 or m6?
  
  3 answers
  
  

I'm playing some chords from a song that goes Fm (F, A♭, C, F on guitar), Fmin7 (E♭, A♭, C, F), and a chord I don't know what to call that uses D, A♭, C, F. This appears to be similar to an Fmin/maj7 chord but with a major 6th instead of a 7th. Could this be called an Fmin/maj6, or would I need to call it something else?

theory chords chord-theory chord-progressions

share|improve this question

asked Jun 10 at 4:13

コナーゲティコナーゲティ

34922 silver badges1111 bronze badges

share|improve this question

asked Jun 10 at 4:13

コナーゲティコナーゲティ

34922 silver badges1111 bronze badges

share|improve this question

asked Jun 10 at 4:13

コナーゲティコナーゲティ

34922 silver badges1111 bronze badges

asked Jun 10 at 4:13

コナーゲティコナーゲティ

34922 silver badges1111 bronze badges

asked Jun 10 at 4:13

コナーゲティコナーゲティ

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2 Answers
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5

I'm not quite sure why F-Ab-C-D would be considered closer to FmM7 than Fm7; in any event, your chord is an Fm6 chord. You could also interpret the chord D-F-Ab-C as a Dm7b5, or half-diminished chord.

The minor/major part of FmM7 indicates that the chord is an Fm chord with a major 7th, to distinguish it from an Fm7 with a minor 7th; note that the "minor" in Fm7 does not refer to the 7th, though, but to the minor quality of the Fm triad.

There is such a thing as an FmM13 chord, which would be spelled F-Ab-C-E-G-B-D, or possibly encountered as something like F-Ab-E-D.

share|improve this answer

edited Jun 10 at 4:58

answered Jun 10 at 4:28

David BowlingDavid Bowling

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• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  But the 6th here is major, no? Wouldn't Fm6 imply that both the triad and 6th are minor?
  
  – コナーゲティ
  Jun 10 at 4:35
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  The m only applies to the underlying triad. If the 6th were minor, you might have an Fm(b6), but this would be a very unusual chord: the b6 is enharmonic to a #5, and would clash with the 5th of the Fm (F-Ab-C-Db).
  
  – David Bowling
  Jun 10 at 5:01
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Ok, thank you. Is it different for Fm7, where both the triad and 7th would be minor?
  
  – コナーゲティ
  Jun 10 at 5:23
  

  
  
  
  


• 
  
  
  

  
  1
  

  
  
  
  
  
  

  
  
  No, the m only applies to the triad. Chord nomenclature always gives the triad quality first, the Fm part, followed by a 7 if the chord is a 7th chord (or a 6 or 6/9). A 7 indicates a b7 by convention, and a M7 indicates a natural 7. This can be a little confusing; some people like to reference the Mixolydian scale instead of the major scale with chord names for this reason. Note that for major quality chords there is usually no M associated with the triad. So an F major chord is an F, not an FM, and a dominant 7th F major chord is F7, not FM7.
  
  – David Bowling
  Jun 10 at 6:00
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Excellent answer. +1. I used to query why a m6 chord actually featured a M6 note! Apart from the fact that a minor triad with a m6 note added doesn't sound good, that M6 could easily be construed as the very note found in the melodic minor scale. Thus, it's O.K!
  
  – Tim
  Jun 10 at 6:34
  

  
  
  
  

 | 
show 1 more comment

1

If the lowest note of each chord is the note that changes each time so F->Eb->D, then the changing notes can be considered as passing tones, since they are not being used in a functional progression. For example, if the key center where this happens in F minor, then the Eb Ab C F chord could be changing the F minor to a ii chord in Eb. You don't mention what comes next, and that is the crucial chord to tell us if the Dm7-5 is functional or not. If the D moves down to Db or C, then we are still dealing with passing tones. If the D moves to a Bb7 chord, or a G7 chord, then it is functional.

So, if the D is part of the baseline, then it is not Fm6. Hope this helps!

share|improve this answer

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

add a comment | 

5

I'm not quite sure why F-Ab-C-D would be considered closer to FmM7 than Fm7; in any event, your chord is an Fm6 chord. You could also interpret the chord D-F-Ab-C as a Dm7b5, or half-diminished chord.

The minor/major part of FmM7 indicates that the chord is an Fm chord with a major 7th, to distinguish it from an Fm7 with a minor 7th; note that the "minor" in Fm7 does not refer to the 7th, though, but to the minor quality of the Fm triad.

There is such a thing as an FmM13 chord, which would be spelled F-Ab-C-E-G-B-D, or possibly encountered as something like F-Ab-E-D.

share|improve this answer

edited Jun 10 at 4:58

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  But the 6th here is major, no? Wouldn't Fm6 imply that both the triad and 6th are minor?
  
  – コナーゲティ
  Jun 10 at 4:35
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  The m only applies to the underlying triad. If the 6th were minor, you might have an Fm(b6), but this would be a very unusual chord: the b6 is enharmonic to a #5, and would clash with the 5th of the Fm (F-Ab-C-Db).
  
  – David Bowling
  Jun 10 at 5:01
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Ok, thank you. Is it different for Fm7, where both the triad and 7th would be minor?
  
  – コナーゲティ
  Jun 10 at 5:23
  

  
  
  
  


• 
  
  
  

  
  1
  

  
  
  
  
  
  

  
  
  No, the m only applies to the triad. Chord nomenclature always gives the triad quality first, the Fm part, followed by a 7 if the chord is a 7th chord (or a 6 or 6/9). A 7 indicates a b7 by convention, and a M7 indicates a natural 7. This can be a little confusing; some people like to reference the Mixolydian scale instead of the major scale with chord names for this reason. Note that for major quality chords there is usually no M associated with the triad. So an F major chord is an F, not an FM, and a dominant 7th F major chord is F7, not FM7.
  
  – David Bowling
  Jun 10 at 6:00
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Excellent answer. +1. I used to query why a m6 chord actually featured a M6 note! Apart from the fact that a minor triad with a m6 note added doesn't sound good, that M6 could easily be construed as the very note found in the melodic minor scale. Thus, it's O.K!
  
  – Tim
  Jun 10 at 6:34
  

  
  
  
  

 | 
show 1 more comment

5

I'm not quite sure why F-Ab-C-D would be considered closer to FmM7 than Fm7; in any event, your chord is an Fm6 chord. You could also interpret the chord D-F-Ab-C as a Dm7b5, or half-diminished chord.

The minor/major part of FmM7 indicates that the chord is an Fm chord with a major 7th, to distinguish it from an Fm7 with a minor 7th; note that the "minor" in Fm7 does not refer to the 7th, though, but to the minor quality of the Fm triad.

There is such a thing as an FmM13 chord, which would be spelled F-Ab-C-E-G-B-D, or possibly encountered as something like F-Ab-E-D.

share|improve this answer

edited Jun 10 at 4:58

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  But the 6th here is major, no? Wouldn't Fm6 imply that both the triad and 6th are minor?
  
  – コナーゲティ
  Jun 10 at 4:35
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  The m only applies to the underlying triad. If the 6th were minor, you might have an Fm(b6), but this would be a very unusual chord: the b6 is enharmonic to a #5, and would clash with the 5th of the Fm (F-Ab-C-Db).
  
  – David Bowling
  Jun 10 at 5:01
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Ok, thank you. Is it different for Fm7, where both the triad and 7th would be minor?
  
  – コナーゲティ
  Jun 10 at 5:23
  

  
  
  
  


• 
  
  
  

  
  1
  

  
  
  
  
  
  

  
  
  No, the m only applies to the triad. Chord nomenclature always gives the triad quality first, the Fm part, followed by a 7 if the chord is a 7th chord (or a 6 or 6/9). A 7 indicates a b7 by convention, and a M7 indicates a natural 7. This can be a little confusing; some people like to reference the Mixolydian scale instead of the major scale with chord names for this reason. Note that for major quality chords there is usually no M associated with the triad. So an F major chord is an F, not an FM, and a dominant 7th F major chord is F7, not FM7.
  
  – David Bowling
  Jun 10 at 6:00
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Excellent answer. +1. I used to query why a m6 chord actually featured a M6 note! Apart from the fact that a minor triad with a m6 note added doesn't sound good, that M6 could easily be construed as the very note found in the melodic minor scale. Thus, it's O.K!
  
  – Tim
  Jun 10 at 6:34
  

  
  
  
  

 | 
show 1 more comment

I'm not quite sure why F-Ab-C-D would be considered closer to FmM7 than Fm7; in any event, your chord is an Fm6 chord. You could also interpret the chord D-F-Ab-C as a Dm7b5, or half-diminished chord.

The minor/major part of FmM7 indicates that the chord is an Fm chord with a major 7th, to distinguish it from an Fm7 with a minor 7th; note that the "minor" in Fm7 does not refer to the 7th, though, but to the minor quality of the Fm triad.

There is such a thing as an FmM13 chord, which would be spelled F-Ab-C-E-G-B-D, or possibly encountered as something like F-Ab-E-D.

share|improve this answer

edited Jun 10 at 4:58

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

share|improve this answer

edited Jun 10 at 4:58

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

answered Jun 10 at 4:28

David BowlingDavid Bowling

5,39333 gold badges1414 silver badges3838 bronze badges

1

If the lowest note of each chord is the note that changes each time so F->Eb->D, then the changing notes can be considered as passing tones, since they are not being used in a functional progression. For example, if the key center where this happens in F minor, then the Eb Ab C F chord could be changing the F minor to a ii chord in Eb. You don't mention what comes next, and that is the crucial chord to tell us if the Dm7-5 is functional or not. If the D moves down to Db or C, then we are still dealing with passing tones. If the D moves to a Bb7 chord, or a G7 chord, then it is functional.

So, if the D is part of the baseline, then it is not Fm6. Hope this helps!

share|improve this answer

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

add a comment | 

1

If the lowest note of each chord is the note that changes each time so F->Eb->D, then the changing notes can be considered as passing tones, since they are not being used in a functional progression. For example, if the key center where this happens in F minor, then the Eb Ab C F chord could be changing the F minor to a ii chord in Eb. You don't mention what comes next, and that is the crucial chord to tell us if the Dm7-5 is functional or not. If the D moves down to Db or C, then we are still dealing with passing tones. If the D moves to a Bb7 chord, or a G7 chord, then it is functional.

So, if the D is part of the baseline, then it is not Fm6. Hope this helps!

share|improve this answer

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

add a comment | 

If the lowest note of each chord is the note that changes each time so F->Eb->D, then the changing notes can be considered as passing tones, since they are not being used in a functional progression. For example, if the key center where this happens in F minor, then the Eb Ab C F chord could be changing the F minor to a ii chord in Eb. You don't mention what comes next, and that is the crucial chord to tell us if the Dm7-5 is functional or not. If the D moves down to Db or C, then we are still dealing with passing tones. If the D moves to a Bb7 chord, or a G7 chord, then it is functional.

So, if the D is part of the baseline, then it is not Fm6. Hope this helps!

share|improve this answer

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

share|improve this answer

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge

answered Jun 10 at 15:36

Michael Glenn WilliamsMichael Glenn Williams

1111 bronze badge