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Re: Chord naming conventions (was: triangle chord notation)

From: Jon Wild
Subject: Re: Chord naming conventions (was: triangle chord notation)
Date: Sat, 12 Aug 2006 16:03:40 -0400 (EDT)

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.


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