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This guy has links to counterpoint books: Good day

Guys, I’m about music theory, useful theory concepts that r not mentioned in my list. Thnx cheers beers

.. and sex.. sex is important too! ;)

Btw, half dims are inverted min6 chords. Am7b5= cm6/g These m6 fukkas have a spirit of a dim.

Same shit is with tonic l. It has common note brothers iii and vi for substitutions and prolongations. Resolves amen downwards to V or upwards to IV. Has neighbouring attractions to ii and vii.

Thnx bro. I look this way: know the rules and break them if needed

Chord functions. For ex: subdominant IV Has common notes with vi and ii , which can act as substitutions. Also resolves backwards to tonic in “amen” fashion. Also resolves forward to vii in “V to I” fashion. Also there’s natural tension towards neighbouring chords iii and V. ———————...

Wanna share My arsenal for songwriting so far: Ears Scales and their modes: maj, min, har minor, Mel min, harm major, double har maj, dim w h, dim h w, full tone, Aug, Neapolitan maj and min, few Indian and japan fukkked up penta scales Modulation technics Borrowed chords Slash chords for...

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...

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...

Thnx. I think whatever it is, it’s just not a 7th chord. As I said, this symmetry is unique.

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.

Thnx. And do u agree with this perspective? What the stacked minor3rds have to do with the 7ths/7th chords??

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...

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

Ye. It was a good thing for a lazy ass like me. And so many possible resolutions or modulations. They r amazing chords. Thnx

Ye. Raised forth gives good lydianish satrianish shit to anything. Sharp five to me is very inspiring and most often upliftin. And flattened sixth is always good for that j bond tension shit. Also as a real minorish attribute., to add aeolian spirit to many things. Many are afraid of the min...

Yes. I wanna know all the helpful rules, and bend them if needed. Rules+creativity is a good pair. Both equally important. Thnx for understanding me.

Well I think I’ve made myself misunderstood. Sorry. In fact I know exactly what and where the notes are, and can name things more or less quite precisely. At least so I can understand myself what I’m doing. This thread is about dim and aug chords. I started to dive deeper into music theory and...

Same here. Me too. Cheers