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#2748995 07/03/18 09:27 AM
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Desperado (Eagles) begins with G-G7-C-Cm6-G-E-A-D.
How would theory explain this Cm6 chord?
C leads to B, Eb to D. I guess what we are after is E-Eb-D but I am no theory or ear expert.
what is going on?

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Yes, chromatic-ism seems to always rule.

But it is also fun to focus just on the tri-tone embedded in that min6 chord. It is not the tri-tone of the song key’s dominant but putting the two together gives you the dominant’s acceptable diminished 7 chord.

Lots of RH improv fun can be had by switching back-forth among (or combining) the scales that would normally go with the normal dominant and this min6 chord in the iv position.

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Originally Posted by iamanders
Desperado (Eagles) begins with G-G7-C-Cm6-G-E-A-D.
How would theory explain this Cm6 chord?
C leads to B, Eb to D. I guess what we are after is E-Eb-D but I am no theory or ear expert.
what is going on?


Theory would probably consider the Cm6-to-G progression to be a minor plagal cadence, iv - I. The Cm6 has subdominant minor function. The iv chord is sometimes described as having been "borrowed" from the parallel natural minor scale, i.e, the G natural minor scale, in which the chord built on the fourth degree of the scale is minor (Cm) rather than major (Cmaj) as in the G major scale. This "borrowing" is also referred to as modal interchange.

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Agreed.

To me, the minor IV chord brings a sweetness and poignancy to a major chord progression.


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It's considered a modal interchange chord. We're in the key of G.

C is the IV major chord.

Cm is the iv minor chord. It's borrowed from a parallel minor scale. Since it's a Cm6 chord it comes from the dorian mode.

Last edited by Steve Nixon; 09/15/18 02:45 PM.

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