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A full diminished chord is not possible within the bounds of a normal major or minor key (that doesn't mean you don't play one, of course, simply that it is not diatonic, so treat with appropriate care). Full diminished chords are diatonic in harmonic minor and any of the related modes (e.g., dominant phrygian).
A half-diminished chord becomes a minor7 flat 5 under two circumstances:
(a) If you are playing jazz or hanging out with jazz players. (Why? Ask a jazz player if you have an hour or two spare.)
(b) When you are resolving it in the "wrong" direction. From memory, diminished chords theoretically resolve up, e.g., B half-diminished ==> C. If you resolve it downwards, it is a minor 7 flat 5.
WARNING: this last part from memory and I'm vague on it. I learned this a few months ago from an excellent video, but have forgotten already. See:
Time I watched it again myself.
Once you add the seventh:
- a 'half diminished' chord is 1 b3 b5 b7
- a diminished chord is 1 b3 b5 bb7
So your ii chord is the m7b5 (a bb7 wouldn't be diatonic).it's cos we can spell
[stops stopwatch]
Dim and Aug chords - really useful
I was just going to ask about how to use it. I've just been learning about m7b5 chords, and after some messing around noticed that they were spelt the same as dominant 9 chords. So the question is when it sounds right, how do you know over any given chord, whther you're playing a m7b5 or a dominant 9th chord?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I did was and was like, whoah, with this one simple trick, I have become The Ink Spots.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.