Jon Wild wrote:
On Sat, 12 Aug 2006, Andre Schnoor wrote:
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)
This sonority is half-diminished (respell it as F#-A-C-E to see this)
but I can't think of any possible reason for ever spelling a chord in
either of your two ways.
You might be thinking of C-E-Gb-Bb, which in jazz would be called
C7b5, and in classical analysis would function either as a dominant
with lowered 5th (i.e. V7b5 in F major; or as an applied dominant e.g.
in C major it is [V7b5]-->IV) or, more commonly, as a French 6th
chord. Spelled as C-E-Gb-Bb you have the French 6th chord in Bb major,
built on scale degree b6 (Gb). Spelled as C-E-F#-A# it is the French
6th chord in E major. These augmented-6th chords generally resolve by
contrary chromatic motion in their outer voices to dominant harmony of
their key. But when they appear in jazz and popular music they are
usually respelt so the augmented 6ths appear as dominant sevenths.
Good catch! I saw the almost French 6th but didn't move the whole step
to the right place to get the half diminshed.
Paul
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