Talk:Half-diminished seventh chord
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Occurrence in scales
This chord can be found in three scale-types, not just two. (I've added the diminished scale.)Prof.rick 07:02, 14 March 2007 (UTC)
You'll find few jazz musicians who will routinely play a half/whole diminished chord over the chord. For one, the diminished 4 (enharmonic major 3) clashes with the chord sound, and combined with the b7 implies a dominant chord function rather than a subdominant chord function, which the half-diminished chord overwhelming serves in the classic II-V pattern. Furthermore, its considered a synthetic scale, and most (if not all) tertian chord sounds are derived from the major and three minor scales. Also, if we were just going by what scales contain the chord tones of a half-diminished, we could also throw in there the second modes of the melodic minor and harmonic minor in addition to the seventh mode of the major, and sixth mode of melodic minor. But since that's not what we're doing when we're talking about what scales they're derived from, we don't do that. We're more interested in the complete chord scale sound with relationship to the chord, and Locrian and Locrian natural 9 are the sounds which are in common practice.Havic5 06:33, 3 October 2007 (UTC)
The half-diminished symbol (ie Ø) does not seem to be in the Unicode standard (at least I can't find it), and the current way of showing it is not all that great. Is there an alternative, better way? --Celtic Minstrel (talk • contribs) 05:28, 15 November 2007 (UTC)
- http://en.wikipedia.org/w/index.php?title=Wikipedia:WikiProject_Music&oldid=40998738#Musical_mark_up. Hyacinth (talk) 22:45, 22 July 2008 (UTC)
Error in example?
The example for Half-diminished seventh chord on supertonic in C minor looks to me like it is built on the tonic rather than the supertonic. Shouldn't it be D F Ab C instead of C Eb Gb Bb as per the text? Pounderd (talk) 20:28, 1 February 2011 (UTC)
Same notes as minor sixth chord
I don't see it mentioned here, but...
I would also mention that Graham H. Jackson (The Spiritual Basis of Musical Harmony, 2006, pgs. 130,135) interprets it as the counterpart of the dominant seventh (functionally, too), except in the undertone series - being generated from the top note. He shows minor chords as being generated from the top note, e.g. the A minor chord is generated from the undertones of E. Then its minor subdominant chord is generated from A downwards - A-F-D, or A-F-D-B to make it a functionally-similar "half-diminished seventh" or "minor sixth" chord, then the minor dominant E-Bb-G, then a "half-diminished seventh" from the generating tone E again - E-C-A-F# - which leads into F#-D-B (a key change to B minor, if the bottom note is considered the tonic). Esn (talk) 20:18, 25 August 2016 (UTC)