m7b5 & m6 Grip Relationships

Discussion in 'Tab, Tips, Theory and Technique' started by gionnio, Sep 1, 2019.

  1. gionnio

    gionnio Tele-Meister

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    Apologies if this has been done before...

    I've always had trouble keeping these straight when comping, so I mapped them out. Maybe the chart would be of use to someone else too.
     

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    Last edited: Sep 2, 2019
  2. Fluddman

    Fluddman Tele-Meister

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    Thanks for this. Is half diminished the same as m7b5?

    Cheers
     
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  3. gionnio

    gionnio Tele-Meister

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    See below...
     
    Last edited: Sep 2, 2019
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  4. Teleguy61

    Teleguy61 Friend of Leo's

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    Yes.
     
  5. doc w

    doc w Tele-Afflicted

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    It is a really cool chord and it has a variety of disguises. Half-diminished, m7b5, and m6 all have the same content but they act differently. I would never call a 7 chord on the vii of the major scale a m7b5. I always call it a half diminished. Also, for example, it becomes a m6 when it is iv6. In a ii V I, it is m7b5. :cool:
     
  6. Fluddman

    Fluddman Tele-Meister

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    Interesting - so in the last example is it behaving as a ii chord? Thanks
     
  7. klasaine

    klasaine Poster Extraordinaire

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    They're also just straight up dom 9th chords.
    That first example: X1212X is an F#9 (3rd in the bass).
    Extrapolate that to improv/soloing ...
     
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  8. doc w

    doc w Tele-Afflicted

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    That's a good point. A lot of people forget that you can leave out the root and still have a chord. T Bone Walker uses this all the time as a dom9.
     
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  9. klasaine

    klasaine Poster Extraordinaire

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    For those that are curious about the T-bone connection ...

     
    Last edited: Sep 3, 2019
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  10. twangjeff

    twangjeff Tele-Afflicted

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    Scott Henderson has/had a book out a while back taking this basic concept and saying that for any given chord if you put it over a different bass note you essentially have a new chord. It's amazing how much your world opens up in short order.
     
  11. 1300 E Valencia

    1300 E Valencia Friend of Leo's

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    Any note in a chord can be the root. Easiest example is your typical diminished chord as played on the top four strings. Also easier to envision this with four-note-or-less chords with no note duplications. (Sorry cowboy chord enthusiasts.) Hey, those low notes are the bass player's job!
     
  12. ASATKat

    ASATKat Friend of Leo's

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    You can also leave out the flat 5 too and not hurt the effect of the chord, even when the b5 is in the name. The function remains the same.

    G9
    -
    -3
    -2
    -3
    -2
    -

    without the b5
    G9
    -
    -3
    -2
    -
    -2
    -

    Here is the C major scale harmonized with this "omit 5" idea, do you miss it?

    Cmaj7. Dm7. Em7. Fmaj7. G7. . Am7. Bm7b5. Cmaj7
    -----------------------------7-----8---10-----12
    -5-----6-----8----10----6-----8---10-----12
    -4-----5-----7-----9-----------------------------
    -----------------------------5-----7-----9-----10
    -3-----5-----7-----8-----------------------------
    -----------------------------------------------------
     
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  13. klasaine

    klasaine Poster Extraordinaire

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    Great and VERY useful voicings!
     
  14. ASATKat

    ASATKat Friend of Leo's

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    Plus they use the same fingers for all chords on a set of strings,

    Auto fingering for the 5/3/2 strings for all chords in this string group

    -
    -5 pinky
    -4 middle
    -
    -3 index
    -

    4/2/1 string group for all chords

    -7 pinky
    -6 ring
    -
    -5 index
    -
    -
     
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