Previous page:  |
Cm7 |
Next page:  |
| Previous page: m7 |
Next page: m9 |
Cm7
Find chord shapes
The Cm7 has the notes C-Eb-G-Bb, and the Eb6
has the notes D-F#-A-B. These are the same notes, and the Eb6 is
the Cm7 (realtive minor) in first inversion and Cm7 is the
Eb6 (relative major) in third inversion. Usually I am note able
to tell the difference, and as the Cm and Eb often can substitute
each other, it might a matter of preferences when it comes to notation. But I
have included voicings sith omitted 5th for the m7 chords. If we
invert these notes, we will end up with the 1-5-6 in the 6th
chord, and it does not really get the character of a major chord. So these
m7-voicings does not really work as relative major 6 chords. And
if we try to do the same with the Eb6, we end up with a plain Cm
chord.
I find it useful to break down chords with 4 or more notes into
triads, to see how various chords relates. It makes it easier to understand
chord construction and chord substitution.
| Cm |
C |
- |
Eb |
- |
G |
|
|
|
|
| Cm7 |
C |
- |
Eb |
- |
G |
- |
Bb |
|
|
| Eb |
|
|
Eb |
- |
G |
- |
Bb |
|
|
| Eb6 |
|
|
Eb |
- |
G |
- |
Bb |
- |
C |
You see that all the notes of a Eb chord are also found in
the Cm7 chord. We can say that the Cm7 is the note C + an Eb
chord, or a Cm chord + the note Bb. The E6 is an Eb-chord
+ the note C.
The typical application of the Cm7 chord in a major
context, is as ii-chord
chord in Bb-major, a iii-chord
in Ab-majorand as a vi-chord
in Eb-major. Go to The harmonized
Bb-major scale, The harmonized
Ab-major scale and The harmonized
Eb-major scale to see the Cm7 in these harmonic contexts.
| Closed four-note positions - Root-position - 1b357 voicing =
Eb6 3. inv - 6135 voicing |
 |
3 fr |
 |
11 fr |
 |
6 fr |
|
|
|
|
|
|
| These fingerings are somewhere between difficult
and impossible, depending on the size of your hand, and how high up the neck
you play. But as these are the chord in it's basic root position, I include
them. These voicings are more for analysis than for playing. But play the
slowly and listen to learn the sound of the chord. |
|
|
| Closed
four-note positions - Root-position - 157b3 voicing (= Eb6 3. inv - 6351 voicing= |
 |
8 fr |
 |
3 fr |
 |
10 fr |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Back to TOP
Back to TOP
Back to TOP
Back to TOP
| Closed five-note positions |
 |
8 fr |
 |
3 fr |
 · |
5 fr |
 |
6 fr |
|
|
|
|
| These two are in root position, and you
can easliy see the relation with the barré positions. |
The next two are both in first inversion.
|
|
 |
|
 |
|
· |
|
 |
|
|
|
|
|
| Here I have not grouped them according to
inversion. But you see that they are all derived from the same basic
shape. |
|
 |
10 fr |
|
|
 · |
8 fr |
|
|
|
|
|
|
|
|
Back to TOP
|
 |
|
 |
|
|
|
|
|
|
|
|
|
| These are hard to play, particulary the second
one, where you have to make a barré with your first finger, and then
another small barré with your 2nd finger on 6th and 5th fret. |
Back to TOP
|
Skip-string
voicings - 1. inversion (=Eb6 in root position) |
 |
|
|
|
 |
10 fr |
 |
5 fr |
|
|
|
|
|
|
|
|
|
|
|
|
| Skip sting
voicing - 2. inversion |
Skip sting
voicing - 3. inversion |
 |
|
 |
8 fr |
 |
4 fr |
 |
11 fr |
|
|
|
|
|
|
|
|
|
|
|
|
Back to TOP
As said many
times in this series: The root gives the chord identity, the third
gives character and the fifth gives stability. When it is
a 7th chord, the 7th gives character and identity as a 7th chord.
We can leave out the fifth and still keep the identity and the character of the
chord. The following voicings are such chords, with just the root, third and
seventh. |
Back to TOP
Back to TOP
| Previous page: | Previous page: m7 |  | Next page: m9 | Next page: |
