Chord theory quandry - m7b5 or 9th with 6th string root?

ChasFred said:
I was not gauging myself to Robert, just pointing out that the small amount of knowledge didn't really amount to much vs real skills.
My music does bring me to a happy place and that is all that really matters.
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I am nobody, Man...seriously.

I envy people who can understand this stuff, Chas!!!!
 
Anybody who understands it had someone else not only explain, and or teach it BUT also how to apply and use it to ones advantage on their instrument of choice. All those little numbers on the large chart are Tensions, they all create some extremely colorfull chords especially on guitar and piano
 
smitty_p said:
In the case of your comparison of a C9 to a Em7b5, there are similarities. First, let me address a "9" chord. Without omitting any notes, a 9 chord consists of the 1, 3, 5, b7 and 9 intervals. In the case of a C9 these would be notes C, E, G, Bb, and D. A m7b5 chord consists of the 1, b3, b5, and b7. In the case of an Em7b5 chord these would be notes E, G, Bb, and D. So, yes, there are several notes that are the same between the two. The C9 has the additional note, C, which is not a part of the Em7b5.
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Another interesting tidbit I failed to mention earlier - a m7b5 chord can also be thought of as a half-diminished 7 chord. So, our Em7b5 could also be written as "Eø7".

The essential construction of a diminished chord depends on the structure of the basic triad in the chord. The base triad consists of two minor thirds. So, the interval of the 1 to the b3 is a minor third, and the interval of the b3 to the b5 is also a minor third. However, from this point on the chord can be considered a half-diminished or a full-diminished, depending on the interval to the seventh. If the interval from the b5 to the seventh is a major third (b5 to b7) it would be a half-diminished. If the interval from the b5 to the seventh is another minor third (b5 to bb7 - yes, a double-flat 7), the chord is a full diminished.

In the example of our E chord, a fully-diminished E chord would have the intervals 1-b3-b5-bb7. These would be the notes E - G -Bb - Db. It would be written as "Eo7".

Diminished chords have a haunting, dissonant nature. They aren't used very often, but they have a very unique tonality.
 
can you guys play an exam[p;e of the above post & explain it ?? what the chord is..how its applicable--maybe ..why the half diminished explanation is even relevant to daily use? Are we going to have to play in diminished mode across the whole progression once its inserted or can a diminish just flavor a note in that progression

looks like the diminished is the flattening of the reg notes after the root?
 
BFT Gibson said:
can you guys play an exam[p;e of the above post & explain it ?? what the chord is..how its applicable--maybe ..why the half diminished explanation is even relevant to daily use? Are we going to have to play in diminished mode across the whole progression once its inserted or can a diminish just flavor a note in that progression

looks like the diminished is the flattening of the reg notes after the root?
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As I've seen it used, a diminished chord is used more for flavor or to add some tension to a piece. You don't usually see it used for a long time in song - usually just for a couple beats or a measure at a time.

Jazz tends to incorporate more of these chords and subtleties. Jazz musicians pay a great deal of attention to altered chords, voicings, and other such techniques; other forms - not so much.

Again...this spotlights the individual, yet amazingly broad, nature of music. Some genres may hardly ever incorporate any of these things. Other forms may make more frequent use of them - even depend on them.
 
BFT Gibson said:
can you guys play an exam[p;e of the above post & explain it ?? what the chord is..how its applicable--maybe ..why the half diminished explanation is even relevant to daily use? Are we going to have to play in diminished mode across the whole progression once its inserted or can a diminish just flavor a note in that progression

looks like the diminished is the flattening of the reg notes after the root?
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Check out the 2 videos in post #1 at the stated times for the chord itself and rewind for context
 
RVA said:
Check out the 2 videos in post #1 at the stated times for the chord itself and rewind for context
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quick question//is the diminished part of the regular progression or does it change it...lets say we are in E..then you throw a diminished in..is it to steer or flavor...really trying hard lately....
 
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BFT Gibson said:
quick question//is the diminished part of the regular progression or does it change it...lets say we are in E..then you throw a diminished in..is it to steer or flavor...really trying hard lately....
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Every key has a diminished chord.

In the key of E it would be D#dim.

Whether you choose to use it is a different question.

Answering the “steering vs. flavor” question is more difficult. In a sense, chord choices inherently do both. I suppose, I would tend to see it more as flavor, but not exclusively.
 
smitty_p said:
Every key has a diminished chord.

In the key of E it would be D#dim.

Whether you choose to use it is a different question.

Answering the “steering vs. flavor” question is more difficult. In a sense, chord choices inherently do both. I suppose, I would tend to see it more as flavor, but not exclusively.
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thanks was kinda thinking flavor in my application. My tendency is to grab a chord like that & then it pulls me somewhere..usually away from what i was doing...I was watching Steely Dan..their MU chord seems to be between the the reg notes..like a quick in & out..just to add tension or effect
 
Sometimes, I will be asked questions about a solo, and the person asking is a highly educated musician...that's an intimidating scenario.

If I compose and record a solo today, I would have to learn it from literal scratch tomorrow in order to play it again.
 
Robert Herndon said:
Sometimes, I will be asked questions about a solo, and the person asking is a highly educated musician...that's an intimidating scenario.

If I compose and record a solo today, I would have to learn it from literal scratch tomorrow in order to play it again.
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with ya.. dont even know what i play..i solo with my eyes closed..only way i can feel it..i come out of the studio sessions..aint right for hours,,,went somewhere else for a bit
 
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