![]() In a chart it may be found written as Cm7(b5) or as CØ It really is just a matter of semantics or personal choice.īuilt on a C root, we have: C Eb Gb Bb, respectively the Root, the m3, the dim 5, and the m7. THE MINOR 7(b5) OR HALF-DIMINISHED CHORD:įirst of all we need to understand that the two names: either m7(b5) or Half-Diminished indifferently refer to the exact same chord. ![]() We have a C 7 chord moving to an F chord, so if we were to analyze these chords without considering the key signature or the context that Example 1 provides, we’d say the two chords represent the progression \mathrm) and then progresses, like usual, to the dominant chord.What is a m7(b5)? What is a half-diminished chord? - The Half-Diminished Chord - minor 7(b5) - m7(b5) chord - jazz - guitar - Bruno Pelletier ![]() Example 2 extracts the two chords from Example 1 that participate in the tonicization. Tonicizing V Analyzing tonicization Secondary dominant chords (V (7)/V)Įxample 1 analyzes a passage that temporarily makes V sound like the tonic chord. First, we’ll learn how to tonicize the dominant, and then we’ll see tonicizations of non-dominant chords. It’s accomplished using secondary dominant or secondary leading-tone chords (sometimes called applied dominant and applied leading-tone chords). Tonicization is the process of making a non-tonic chord temporarily sound like tonic.
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