Exam ple 2 Di­min­ished ex­ten­sions

Guitar Techniques - - Play: Theory -

Cm7b5

b oe Our next ex­am­ple de­vel­ops our three-note Di­min­ished 8 triad into a four-note

b b oe C 9 Caug 7th chord. This gen­er­ally goes in one of two ways: oeoe the Half-di­min­ishe­doe

10 10 10 oeoe chord (R b3 b5 b7)’ some­times re­ferred to a ‘mi­nor 7b5’, or the Di­min­ished 7th (R b3 b5 bb7). A con­fus­ingΣΣ thing here is that some play­ers call this just ‘Di­min­ished’, mak­ing no dis­tinc­tion be­tween the three-note tri­adic ver­sion and 9 the four-note 7th de­vel­op­ment.8 It’s goo­doe to aim for ac­cu­racy7 and Cdim7 b oe˙˙˙˙˙˙˙˙˙˙oeb oe bb ˙˙b oe Cm 8 Cdim7 8 pre­ci­sion when la­belling chords but in prac­tice of­ten cor­ners get cut, rather

10 Ó 10 oeoeb oe ˙˙˙˙ 10 10 oeb oe 10Ó like gram­mat­i­cal rules that get re­laxed in the spo­ken word. For our pur­poses we’ll use the cor­rect ti­tles of ‘Di­min­ished’ for triad and ‘Di­min­ished 7th’ (or the sym­bol ‘o’) to in­di­cate the four-note ver­sion.

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