Re: [Harp-L] Cm7b5 (no harp content, unless you consider music related to harp)

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

Michael - 

I don't know why you would put the "b" after the "3" in the specific context of the blues scale as opposed to other contexts.  I'm used to seeing it written as "b3" in pretty much all contexts. 

I wouldn't called "3b" an error, just something that doesn't conform to common usage, at least in my experience.

Winslow

Winslow Yerxa

Author, Harmonica For Dummies ISBN 978-0-470-33729-5

--- On Thu, 9/18/08, michael rubin <michaelrubinharmonica@xxxxxxxxx> wrote:
From: michael rubin <michaelrubinharmonica@xxxxxxxxx>
Subject: Re: [Harp-L] Cm7b5 (no harp content, unless you consider music related to harp)
To: harp-l@xxxxxxxxxx
Date: Thursday, September 18, 2008, 1:46 PM

Okay, but when I am talking about the blues scale, I say flat 3rd, but I
write 3b. This is different than you suggest "It's customary to put
modifiers before the scale degree modified" Am I in error?  When I say
flat
3rd, should I write b3?
In the half dim. chord we say flat 5 but write b5, like you say.
Michael Rubin
Michaelrubinharmonica.com


On 9/18/08, Winslow Yerxa <winslowyerxa@xxxxxxxxx> wrote:
>
>   Say it out loud: C minor 7, flat 5.
>
> It's customary to put modifiers before the scale degree modified:
>
> Sharp 9, #9
>
> Flat 5, b5
>
> Major 3rd, M3
>
> DIminished 4th, dim4
>
> However, when we refer to specific notes, we put the modifiers sharp,
flat,
> and natural after the note name:
>
> C sharp
>
> E flat
>
> F natural.
>
> The m7b5 chord used to be called "half-diminished", meaning a
diminished
> triad with a minor seventh (as opposed to a true diminished seventh chord,
> which would have a diminished 7th, one semitone lower than a minor 7th). A
> minor triad with flat 5 is a diminished triad. So the term m7b5, while it
> mischaracterizes the triad involved, is a literally accurate description
of
> scale degrees and is therefore not as mysterious as "half
diminished."
>
> Winslow
>
> Winslow Yerxa
> Author, Harmonica For Dummies ISBN 978-0-470-33729-5
>
> --- On *Thu, 9/18/08, michael rubin
<michaelrubinharmonica@xxxxxxxxx>*wrote:
>
> From: michael rubin <michaelrubinharmonica@xxxxxxxxx>
> Subject: [Harp-L] Cm7b5 (no harp content, unless you consider music
related
> to harp)
> To: harp-l@xxxxxxxxxx
> Date: Thursday, September 18, 2008, 12:02 PM
>
> Why do they write this chord out as Cm7b5?
> Why not Cm75b?
> Is it to separate the 7 and the 5 visually?
> Michael Rubin
> Michaelrubinharmonica.com
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