Soloing over Fm6
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Hi Emil,
in this lesson you say that when soloing over Fm6 we could arpegiate Dmb7. But if the notes of both chords are identical than what is the point in substituting Fm6 with Dmb7? Is it because of the change of the tonal center?
Thank you in advance!
Warm regards,
Kavi.
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Hi there!
Great question and thanks for asking!The Fm6 and the Dm7(b5) contains the same notes, (note it's not Dmb7 that you wrote above), and the reason for using the Dm7(b5) arpeggio for improv over Fm6, is that it might give you more freedom on the fretboard. Maybe you've practiced m7(b5) arpeggios all over the guitar neck - and have the fingerings and positions in your muscle memory, then it's easy to connect those "boxes" with your other alternative choices, scales and arpeggios that work over the Fm6 chord. It's simple a way of organizing "sounds" for yourself, and finding patterns, ideas and creative ways to play lines over the minor6 sound.
Let me know if you have any other questions Kavi!
Kind regards/E -
Thank you Emil for your reply!
I am sorry, of course it was Dm7(b5) and not Dmb7 :).
In this context I would like to ask another question:
when in a chord progression the 5th chord goes to the 1st we can substitute it with a diminished chord with the root on the b2 or on the maj 3rd, right ? Since the diminished chord consist of equal intervals we can choose either one. Is it determined by our fretboard knowledge as well? As for me I like to use the maj3 as the root since it is only a half-step away from the 1st chord which is easier to associate with coming home.
Is my thinking correct?Thank you Emil!
Kavi.
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Hi!
Absolutely! The most important thing is for you to find your own ways of connecting those diminished chords to the 5 chord, (or to the 1 chord, depending on how you want to look at it). And it's great that you already figured out the easiest for you to do it! You'll never forget it, and you can use it in so many situations!
Kind regards/E
