Thanks in advance
Could a diminished chord can be sus4 or add 2
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FranklyFlawless FranklyFlawless https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=586325
- KVRian
- 1091 posts since 24 Oct, 2022
Sure it can.
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- KVRAF
- 2596 posts since 17 Apr, 2004
In particular a Sus2 or add 2 with a b5 is just going to sound like a 7 or 9 chord without the fifth. C D [E] Gb isn't going to suggest a C chord, but a D7/D9 (with an F# rather than Gb).eLawnMust wrote: Wed Aug 07, 2024 1:14 pm A diminished is not the same as a Add(X) or a Sus(X) they sound very different. A diminished has a flatted fifth which none of the other two have...
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- KVRist
- 146 posts since 19 May, 2017
Normally not, but you can you as a Dominant-Substitute for at least 4 Chords per diminished chord.
Example F dim7 can substitue E7b9, Bb7b9, G7b9, Db7b9.
So you could change keys to Am, A, Eb, Ebm (which would be staying in Key), C, Cm, Gb or Gbm.
Plus if you see it as a tritous substitute even more....
Example F dim7 can substitue E7b9, Bb7b9, G7b9, Db7b9.
So you could change keys to Am, A, Eb, Ebm (which would be staying in Key), C, Cm, Gb or Gbm.
Plus if you see it as a tritous substitute even more....
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- KVRian
- 503 posts since 24 Nov, 2008
A chord suggestion given Asus4 with a flat 5th is to add G or F# notes. Both chords fit the A blues6 scale.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Say A Eb G D F# is a real nice sonority. Eb^7#9/A for another perspective.
I always liked putting a major 3rd on top of a quartal harmony, too. You have this Zoot Allures sound now.
A C Eb Gb D F a bit more pungent. Another perspective: F7b9 13. Aº7 add4 [or 11] b13.
mistakes to be made in constructing vertical sonorities or chords will be like this one joker here, I'll not soon forget it, topic was 'do you call this thing Am7 or C6?' And here was E augmented sus 4.
So go ahead and build that chord you thought of: Occam's Razor applies, if there are extraordinary steps to make it make sense it probably doesn't. Yours are perfectly cromulent chords, no worries.
I kind of think "m6" is a mistake: say E G B C; that's C major 7 in first inversion. 'add 6' to me is doing too much here. But I have seen it in transcriptions, of Bill Evans or something. I've seen the proscribed don't do a straight 11 on a dominant chord in a Wayne Shorter chart.
I always liked putting a major 3rd on top of a quartal harmony, too. You have this Zoot Allures sound now.
A C Eb Gb D F a bit more pungent. Another perspective: F7b9 13. Aº7 add4 [or 11] b13.
mistakes to be made in constructing vertical sonorities or chords will be like this one joker here, I'll not soon forget it, topic was 'do you call this thing Am7 or C6?' And here was E augmented sus 4.
So go ahead and build that chord you thought of: Occam's Razor applies, if there are extraordinary steps to make it make sense it probably doesn't. Yours are perfectly cromulent chords, no worries.
I kind of think "m6" is a mistake: say E G B C; that's C major 7 in first inversion. 'add 6' to me is doing too much here. But I have seen it in transcriptions, of Bill Evans or something. I've seen the proscribed don't do a straight 11 on a dominant chord in a Wayne Shorter chart.