jancivil wrote:Dº7: D F Ab Cb. Bb7b9: Bb D F Ab Cb. vii of Eb, V7 of Eb, same function. It's only to more fully describe the new dominant. I don't want it to be the red herring.
That scale and that chord agree. The scale, I noticed it called the dominant diminished scale, works that way along with the dominant harmony. I have to say, I'm not working with 'generating' chords from a scale such as in that software.
Thanks, it's clear now. It's just that I prefer to relate chords to scales so I know which notes are available and how such chord can be altered or proceed to another.
I understand. The main concern here is to make an alternative dominant motion with the nature of Diminished Scales (symmetric form) to modulate to a new key, which is exactly what I wanted to know upon starting this thread. Thank you so much, jancivil!Yes. Although as to "following the Diminished Scale pattern", not necessarily, all that is is providing two examples of the dominant harmony; then you did b5 substitute to promote a new key, which is a correct understanding. But the chief consideration there is the dominant harmony, which the scale articulates in a certain way, not the other way round, in that this harmony is generated by that scale (it generates a number of things which apply not at all). Now, you can use the scale as that dominant function per se, but you can do other things with it.
I see. By using the same root, forming a different chord.Just by the doing. Cm is i of C minor, Cm is ii of Bb.
