Re: anyone want to talk m6-5?

yes, they are called diminished seventh chords, and the diminished
reference is to the 7th, NOT to the diminished triad that the chord
contains.

the way i heard it, a "major" interval made smaller by a half step is
called a minor interval. a minor or perfect interval made smaller by a
half step is a diminished interval. SO.....a diminished seventh chord
is a chord conaining a diminished 7th. well, it's not that simple,
because, traditionally, the diminshed seventh chord is ALSO a chord
containing a diminished triad. C-Eb-Gb-Bbb (A enharmonically) ,
so, simply referring to the "diminshed seventh), like Bbb in the key of
C does NOT completey explain things. How about C-Eb-G-Bbb (well, it
HAS a diminshed seventh, if you insist on calling it that, but such a
chord would PROBABLY be called a m6th.

and then there's the diminished seventh chord that has the diminished
triad, and the minor seventh C-Eb-Gb-Bb)
and by reason of technicality, you COULD also refer to it as a
"diminshed" seventh chord. except, since the 7th has only been
diminished ONCE (from B to Bb), and not TWICE, the chord is called a
HALF-diminished seventh chord - or quite frequently a m7b5.

Our chord naming system does NOT need another collection of all the
possible clusters, triads, dyads, and gonads there are in the universe
so much as it needs a GREAT SIMPLIFIER. teaching students the four
MOST COMMON "seventh" chords has got enough to confuse someone for
years (and NOT just guitar players) - Major 7th, Minor7th, 7th, and
MinorMajor7th. , whereby you do NOT make reference to the major
triad, a C chord is simply called "C", and it's understood as C major.
a minor triad ALWAYS needs to be refrerred to as a minor, or it's
assumed to be major ' - try getting someone to play a c minor, by
saying "play a c chord" - OK, then, the minor 7th, the FLAT seven is
the one NEVER referred to (like the major triad) - it's simply called a
"7th" chord - and the Major seventh is ALWAYS referred to as the Major
Seventh, or it's assumed to be the FLAT seven.

i have found that calling the dominant "type" seventh chord 1-3-5-b7 as
a "DOMINANT" chord works just fine and use of the term is supported by
the term Dominant meaning that it can dominate ANY particular diatonic
or NON-DIATONC chord, which for the purpose of defining the Dominant
chord that is dominating it, is totally irrelevant - that is, it doesnt
need to be even remotely related to the "key" (if there IS one), in
order for it to be dominated by a COMINANT seventh chord, which boils
down to a tension caused by the 3-7 tritone in the chord.

in presentling the four "most common" seventh chords ( at an
elementary, one-octave level), i't seems to help to stress that the mM
is usually just a passing chord - stairway to heaven if you will - VERY
recognizable ; the major seventh being a "jazzy" chord, in any
inverson...the 7th chord being the forever-"jammed" standard bluz
chord, and the minor seventh being the one that's always a little hard
to tell what it is, ESPECIALLY in inversion, with it's enharmonic and
tonal relatiion the the major 6th.

getting into the 7b5 and the 7+5 are easily understood and heard as
simply "alts" of a DOMINANT - and those pesky diminished and half
diminished chords as simply "sonorities", useful as chord upper
structures.

that is, if a minor 7th is a little ambiguous (to the ear), then the
dim and half dim is almost enough to give up on...- the dm has that
VERY common use of inversion ( a HIGHLY redcgnizable sound) and the
half diminished seems to float around ambiguosly tonally and
theoretically as well. = majbe THAT's why so many write just use m7b5 -
besides, you can't find that circle with a line through on a keyboard -
although it's the same symbol as "no smoking"!!!!

WELL!!! blah blah blah - not sure what i said, but i feel better now.
thank you...

.

Relevant Pages

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