The funny part is I am not the one who called it an F#diminished
The person who created the guitar fingering chart did.

The argument only started because I simply presented a different perspective which was not incorrect. 'What's in a name?' (Shakespeare).

It is how a chord is viewed how any player, piano, guitar, bass, horn - anything will see it as. if it has diminished and it is moving most people will see it as just that. If it has minor, with or without a flattened 5th or a natural they see it as a minor. So if I wanted someone to improvise using a specific scale, not only would I write that in boxed text to indicate that, I would ensure the chord did not make them stop and wonder if I had written the wrong chord. Of course the chords are one and the same in this instance, but it is good practice to make the person playing what you intend, to avoid having to stop and think too much about it.

 

That aside, if a tune is ridiculously fast and any player cannot immediately discern any scale for whatever reason, what do they rely on? The chord symbol. So hypothetically, if you did not automatically recognise the scale, you would play a note or more from the chord structure which is the whole point. If someone put a minor symbol you play a minor leaning if diminished, the same. Normal stuff.

 

Throwing stones at theorists feels like all I can do when I see that warfare is going to break out. And it has over the last few pages with a vehemence that seems to only be on display when the subject is theory. I am repelled by this lack of respect and I repeat it unravels the fabric of this community. This is hardly the first time a supposed "educational" topic has turned sour. It is predictable from the first post what is about to transpire. So my dislike of the subject is not "the subject" it is the shit fight that invariably ensures. We might as well open up a topic on whose God is the real one?

 

Last edited by a moderator: Jul 1, 2021

It has never been the scale, mode, arpeggio or whatever music related... you know what I mean.

That much is clear and so I wanted to pinpoint we were on the same page before continuing, but then, noise on the loop once more.

To say the least, it just posed as the initial moto.

I would have done the same subsequently, prior to noise, even though I actually ended up doing it regardless.
I just wanted initially to set it apart from other modes which are quartal, except itself and Aeolian, not to be a fancy pants - my bad.

We've just learn today that some may take it otherwise.

Lucid insight, if you allow me. I aimed at leveling the line of reasoning to come...

In a matter of fact I did, in respect to your questioning, and to set a clear reference point to us and other participants.

So you noticed. Good.

That much is also clear. e.g. some people use a m6(11) pentatonic as Dorian [second inversion of a V7(9)], as well as mb6(11) pentatonic for Aeolian [second inversion of a IIm7(9)], both based on the original minor pentatonic m7(11) rationale. I don't have a problem with that, given it somewhat works.

 

My 2 cents over diminished tetrachords and chromaticism altogether - something I might have also stolen from a legit source, who knows?



understanders will understand, otherwise just ask (or don't)... probably useless.

 

In modern music when the tune is ridiculously fast and can't immediately discern any scale, you just play faster until there is nothing to discern lol, Joking

I think this is notable to add, Steve Vai is trying a new guitar technique "Joint Shifting" that actually is perfect to fix tempered dissonances or microtones in guitar, with strong bass strings maybe? anyway the added tension is just little not even a 1/8 tone (Edit: not really 1/8 of tone as the pitch bend should be in the fret before so almost an entire half step).

 

Last edited: Jul 1, 2021

So the question is: who in the fuck called that chord F# dim b9/A?
Because we've got the Audiosex Guillotine > S#arp and Ready..

I guess it's the Typical Mistake of calling the "Locrian chord" a Diminished chord,
when in reality it's a m7b5, or Half-diminished..

Or to say the whole truth it would be a mere F#m7b5,b9

I didn't see it the first time,
and since the voicing was unnecessarily convoluted I didn't even check it..
And also I guess I just assumed/obviated the mistake/inaccuracy, as it's quite Frequent in reality..

But now that everything is clear, and we can understand the origin of the discussion..

Who did name this chord?
Why did them say dim, when it should've been m7b5?

Why relativize it to F# at all, if we're talkin about A Dorian Penta?
makes no sense..

(and ofc Not Dorian #4, which could include a full F# dim chord with/without the b7th..)

But in any case, the origin of the Discussion is now clear,
so we may let it rest in peace..

 

Last edited: Jul 1, 2021

G Dorian ? - Did you mean A Dorian?
How dare you make a typo in this immaculate thread
Can you hear that Audiosex Guillotine > Sharp and Ready..

 

So much Relativizing is no good.. telling yo!

Relative Harmony pigs who don't fly Straight,
the worse of them all..

 

Last edited: Jul 1, 2021

Firstly, this is the "education" forum, not the "humour" section. Secondly, I did own a Kombi van some years ago and it looked nothing like this psychotropic melange of Kerouac vomit! (although you got the curtains right) Thirdly the Flying Spaghetti Monster is imaginary unlike the true God as portrayed on the left. A very accurate portrait. Trust me, I've met him. Christ he's a moody bastard!

 

Moderators, moderators... we have blatant blasphemy here - this has gone pasta joke

 

Next you'll be telling me that Vermicelli is an orchestral stringed instrument played by rats.

 

Very interesting idea..

From them the ones I like the most are the last Three..

The X-X-13-9-11-9, which is very Flamenco.. 1-b9-5-b7 so I will call it "Xsus7b9"
I would rather play it in B A or F# depending on the style/palo of flamenco I was playing,
and I also prefer the sonority when it's lower in tone, in B sounds great (Granaina),
in F# also nice for Tarantos (or Spain - Chick Corea)..
(B X-X-9-5-7-5 // F# X-X-4-0-2-0) ... While in A would be good for Bulerías, Solea por Bulerías, Seguiriya, etc..

The X-X-9-10-7-10, nice voicing, like "shattering glass".. 1-b3-b5-b6 so I would call it Bmb5,b6
Could be anything, but reminded me of Satriani for some reason, he may use it in more than one track..

The X-X-10-12-9-11, also very nice, more common.. 1-b3-b5-b6 so I would call it Cmb6
Also reminds me of Satch, as it appears on his Tears in the Rain track..

 

Keep those confessionals coming

 

@BaSsDuDe
Add the guitar to the list. We have two tools already.

 

Certainly not me... ø = m7(b5)






Perhaps because at this point in someone's life, sight don't serve him so well anymore - but the whip, man...

 

I guess then we all need a Good pair of glasses (or monocles)..

My keyboard doesn't have that symbol tho

 

How dare you to rename MY CHORDS ?! (whip cracking in the background)

 

Right ALT + L