Building dim and aug chords in theory

famous beagle said:
Another neat thing about both diminished seventh chords and augmented triads is that they're both symmetrical.

Dim7 = nothing but minor 3rds stacked
Augmented triad = nothing but major 3rds stacked.

This makes it easy to learn fingerings on the guitar especially, because all the inversions look exactly the same. 🙂
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Ye. It was a good thing for a lazy ass like me. And so many possible resolutions or modulations. They r amazing chords. Thnx
 
Steenamaroo said:
Yeah, that never ceases to be confusing.

Often the context, the piece of music or what the other instruments are doing, reveal what the chord really is.
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I once stayed on a farm some miles from Exeter in Devon. If you came from one direction, it was signposted as being in Cheriton Fitzpaine and if you came from the other direction it was signposted as being in Stockleigh English.
Even with the context of the farm, I never really knew where I was ! 🥴
 
grimtraveller said:
I once stayed on a farm some miles from Exeter in Devon. If you came from one direction, it was signposted as being in Cheriton Fitzpaine and if you came from the other direction it was signposted as being in Stockleigh English.
Even with the context of the farm, I never really knew where I was ! 🥴
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I play a lot of chord voicings that I really do not know what the hell I am doing, but they sound nice xxxxx
 
I think fully dim7 has a wrong name. It is a pile of min3rds symmetry, and has nothing to do with the 7th. It’s a fukn dim6, or just - fully dim. The m7b5 is a real dim7 chord and should be called like that.
W do u think? Beers cheers
 
Alexxxander said:
I think fully dim7 has a wrong name. It is a pile of min3rds symmetry, and has nothing to do with the 7th. It’s a fukn dim6, or just - fully dim. The m7b5 is a real dim7 chord and should be called like that.
W do u think? Beers cheers
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I think it's called a diminished 7th because the interval is technically a diminished 7th, not a major 6th, even though they're enharmonically equivalent.
 
famous beagle said:
I think it's called a diminished 7th because the interval is technically a diminished 7th, not a major 6th, even though they're enharmonically equivalent.
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It’s a stack of minor3rds. U won’t get any 7th this way. U will clearly get a 6th, and it in general has nothing to do with 7ths/7th chords. Why do u think it’s somehow a 7th?
It’s a symmetrical 6th chord, not any 7th chord.
Don’t u think so, bro?
Also, Aug chords have nothing to to with 7ths. All that symmetrical shit is unique.
 
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Alexxxander said:
It’s a stack of minor3rds. U won’t get any 7th this way. U will clearly get a 6th, and it in general has nothing to do with 7ths/7th chords. Why do u think it’s somehow a 7th?
It’s a symmetrical 6th chord, not any 7th chord.
Don’t u think so, bro?
Also, Aug chords have nothing to to with 7ths. All that symmetrical shit is unique.
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I'm just saying from a theory perspective, a Cdim7 chord is technically spelled C - Eb - Gb - Bbb.
 
Btw, for interest of those who don’t know:

There’s a cool stuff- dimMaj7 chords. Just a “spy chord” mMaj7 with flat5. Amazing shit. In general, the more useless smth sounds, the more useful it is in context/progression. Amen.
Cheers beers.
 
Alexxxander said:
Thnx. And do u agree with this perspective? What the stacked minor3rds have to do with the 7ths/7th chords??
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I tend to think of dim7 chords as rootless 7b9 chords.

In other words, Bdim7 (B - D - F - Ab) = G7b9 with no G.

I don't tend to think of them as a minor 6 chord with a flat five because that's not the way they're typically used. In other words, a minor 6 chord is commonly used as a tonic minor i chord. But you never see a dim7 used as a tonic minor i chord. (One exception I can think of to this is when it's used in passing, such as in bar 5 of a jazz blues, for example, but that's not even a minor key blues; it's a major one.)
 
famous beagle said:
I tend to think of dim7 chords as rootless 7b9 chords.

In other words, Bdim7 (B - D - F - Ab) = G7b9 with no G.

I don't tend to think of them as a minor 6 chord with a flat five because that's not the way they're typically used. In other words, a minor 6 chord is commonly used as a tonic minor i chord. But you never see a dim7 used as a tonic minor i chord. (One exception I can think of to this is when it's used in passing, such as in bar 5 of a jazz blues, for example, but that's not even a minor key blues; it's a major one.)
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Thnx. I think whatever it is, it’s just not a 7th chord. As I said, this symmetry is unique.
 
Btw , I must confess I never played anything that has dim and aug chords next to each other/in succession. Two very different things. Ice and fire
Maybe u guys have any theory and practical insights and cool examples for this before I go crazy with my guitar. Theory suggests that dim and aug chords have interesting voice leading, both resolutions and tensions. Damn gotta go to my guitar. Any thoughts r so welcome. Thnx
 
famous beagle said:
I tend to think of dim7 chords as rootless 7b9 chords.

In other words, Bdim7 (B - D - F - Ab) = G7b9 with no G.

I don't tend to think of them as a minor 6 chord with a flat five because that's not the way they're typically used. In other words, a minor 6 chord is commonly used as a tonic minor i chord. But you never see a dim7 used as a tonic minor i chord. (One exception I can think of to this is when it's used in passing, such as in bar 5 of a jazz blues, for example, but that's not even a minor key blues; it's a major one.)
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After deeper research I found that dim7 is being as a representer of 7th mode (superlocrian bb7/ultralocrian) of the harmonic minor scale. And that mode’s naming convention states that dim7 has a fukkn bb7 in it.
Ex: G#dim7
1 b2 b3 b4 b5 b6 bb7 8
G# A B C D E F G#

But I always wanted to look at it as a Abmin6(b5). Simply put- diminished minor6 chord.
My own “jazzy” shit.. u know..
Cheers beers
 
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