Nah, that's why I asked in my first post if he had played this chord, implying did it sound good to you? Then I explained why it sounded good to me with the combination of a major 3rd on top of two minor 3rd intervals.karmacazee wrote:nowaysj wrote:Hey y'all, music theory newb here - why do you play the c# in the G minor 7b5 chord?
Isn't the c# outside of the key of G min?
You're all getting the wrong end of the stick in regards to his question: why do you play the c# in the G minor 7b5 chord?
Basically, you do it because it sounds good in certain contexts! No other reason!
Actually, this is a perfect spot to employ a half diminished chord. In this scenario the Gmi7b5 is acting as the ii (minor 2) in a ii V I progression (2 5 1). Instead of going to the V being a C7, you can employ a F#mi7b5 as a substitute dominant chord and move to the Fmaj chromatically. So that would be: Gmi7b5 - F#mi7b5 - Fmaj7Sharmaji wrote:
build it up from the bottom, in 1st position, starting with the root. Gm is G, Bb, D. add the minor 7, which is F. now diminish the 5th, so D becomes Db.
it's a great transitional chord, tons of implied movement in it; try playing Gm7 (G/Bb/D/F), then the chord in question (G/Bb/Db/F), then Fmaj7 (F/A/C/E). nice motion, eh? fiddly bits like diminished/augmented chords are excellent for implying melody-- and following melody.
Why does this work? Well, that half diminished F#mi7b5 chord would be spelled out as F# A C E. That Fmaj is of course F A C E. You basically have the chord already there with just a half step chromatic movement of that F# to F. Easy!
