Andre Schnoor wrote:
Paul Scott wrote:
Andre Schnoor wrote:
Er, no. These are three distinctive chords:
Xdim = 1, b3, b5
Xm.dim7 = 1, b3, b5, b7
Xdim7 = 1, 3, b5, b7
One may argue that "m.dim7" is a weird exception in that is uses
that fancy dot. Alternatively "X(b5,b7)" would be more precise, but
nobody uses that in practice. This chord, BTW, is used frequently in
classical music. It is symmterical, such that, for example in 12TET
tuning
Cm.dim 7 = Ebm.dim7 = Gbm.dim7 = Am.dim7
That chord is the one written Xdim7 in both classical and jazz.
The chord you write Xdim7 = 1, 3, b5, b7 where your b7 is ambiguous
(is it a minor seventh or a diminished seventh) by your notation must
have a major third on the bottom making it some kind of major or
dominant chord. Maybe it would be better if you would use example
notes like:
Cm7(-5) = C, Eb, Gb, Bb (also called half diminished) (also written
with a small circle with a slash)
Cdim7 = C, Eb, Gb, Bbb (also called fully diminished) (also
written with a small circle)
In any case, this chord is important.
It certainly is and it is written dim7 not m.dim7.
Oops, thanks. How could I ... it seems I got used to using the wrong
symbol all the time. Diminished chords have a minor 3rd anyway, so the
additionam "m" not necessary. But what's the other one?
C E Gb Bbb (or in G melodic minor: C E Gb A)
(In G melodic that would be written F#)
That chord is beyond my experience. We'll see who else jumps in here.
This could be best C6(b5) or C(b5,b7). From the sound alone, it has
more in common with C(b5) than C6, but "b7" is ambigous.
Right. Sevenths usually come in major, minor or diminished not flat or
sharp even though we have flat or sharp 9ths.
Paul
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