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A (natural) minor scale: A B C D E F G | A B C...(ad inifinitum)
http://www.guitar-chords.org.uk/chords-key-a-minor.html
Thereafter take, starting from note B (building chords via triads) each alternate note...giving the group of notes
B D F A
Now set the above group of notes against the B major scale (B C# D# E F# G# A#)
http://www.guitar-chords.org.uk/guitarscales/b-major-scale.html
B [root],
D [flat third, b3]
F [flat fifth, b5]
A [flat seventh, b7]
Thus, depending on whether a group of three notes (B D and F) or four notes (B D F A) is used then the harmonised (diatonic ?) chords will be either
B dim
[R, b3, b5]
or
B half-diminished (or named as Bmin7b5 or Bm7b5)
[R, b3, b5, b7]
http://www.jazzguitar.be/blog/jazz-guitar-chord-theory/
(So C maj: Cmaj 7, D-7, E-7, Fmaj 7, G7, A-7, Bm7 flat 5).
You can remove the 7ths if you want basic triads maj/min/diminished.
For minor keys, you use the scale from the relative major. For Am, Cmaj. So the same chords as above except you start with Am7 as your l chord. So Am7/Bm7-5/Cmaj 7 and so on.
The quirk to watch out for is that often in minor keys the V chord is changed to a Dom 7: so in Am the Em7 is changed to a E7. Strictly speaking the G sharp in an E7 isn't in the key of Am, but you get a stronger resolution to the 1 chord if the V chord is dominant.
The ii V i progression is then
ii - B D F A = Bm7b5
V - E G# B D = E7 as referenced by Blueingreen in the previous post.
i - A C E (G#) = Am(maj7)
For instance, the first 3 bars of Black Orpheus / Manha Da Carnival / Day In The Life Of A Fool are
Am |Bm7b5 E7|Am which is
i |ii V|i
For most rock / blues / pop and a few bluesier jazz standards like Moondance or some versions of Summertime the chords are constructed instead from the Dorian minor scale A B C D E F# G A which gives a i chord of Am7 as before but a ii chord of B D F# A which is Bm7.
The v chord should strictly speaking be E G B D which is Em7 but often substitutes an E7 borrowed from the Harmonic minor scale, to get a stronger harmonic pull from the V to the i.
Anyone care to suggest songs that utilise diminished chords.
Nil Satis Nisi Optimum
A quick way to figure out out chords within a scale, stack thirds from a root:
Assuming this Am scale is natural minor, going from the II note gives us B-D-F for the triad, i.e. B dim.
Stack on another third and you get B-D-F-A, so B minor 7 flat 5, aka half-diminished.
This works all over, take A Phrygian for something similar but slightly different ( A Bb C D E F G A ). So here your II is a Bb. A triad from stacked thirds give Bb-D-F, so Bb major. Lob another on top and Bb-D-F-A makes Bb maj 7th.
They are also very closely related to to dom 7 flat 9 chords, probably the most common alteration on a dom 7 chord. A G sharp dim chord is the same as a G7b9 without the root, which means you can normally play any diminished chord containing a G sharp instead of a G7 resolving to C major or minor when comping jazz. This may sound like a quite esoteric piece of information if you never play jazz, but in pratcice It's incredibly useful.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
David Bowie : Absolute Beginners.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.