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in a chord chart, I would prefer to see the actual notes written for the tritone in proper notation. I usually use manuscript paper to make chord charts and notate any melodic bits or chords that are very specific voicings.
Not sure any very orthodox chord notation works. Something like F(b5) No 3rd. Or Fdim (no 3rd)
In this instance, maybe the best you can do is F°(no 3 and F(no 3). In support of this notion is the fact that playing a diminished chord on (say) the root followed by the normal root chord is common.
There are three that I know of.
C5 indicates a (C G) dyad.
Or 'C no 3rd'.
Or you can write 'C ind' (for indeterminate).
The issue will be that writing 'C b5' indicates a c major chord with a b5 (C E Gb) not (C Gb).
The only way I can think of doing it would be to write 'C ind, b5'.
Almost no one knows about 'ind' though, only music theory geeks and not many of them.
So you'd have to explain it which somewhat negates the use of having a shorthand way of doing it.
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I might subject you to a recording of it......it's a 7-piece country / Americana band and the feel of the song has changed completely from what I envisaged when I first wrote it and was in a prog rock / metal band!
I'll have to look up the band!
And then there’s either the push or pull resolution. Eg F-B to E-C or F-B to F#-Bb. I’m probably saying this push/pull part wrong.
There’s no other type of tritone, yeah? They’re always going to be flat fifths of each other?
* read this: https://en.wikipedia.org/wiki/Tritone#Augmented_fourth_and_diminished_fifth
But luckily for us guitar players it doesn’t matter
The first one resolves inwards to the 1st and 3rd of the major tonic. The second one resolves outwards to the 3rd and upper octave. It can’t resolve inwards because there’s not enough space - you can only fit the 5th and 6th in there, which is no use.
There’s also a way of telling when it’s on the Tonic.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The reason being the technical definition of a chord requires three or more notes.
Two notes is a double stop.
What tends to happen with us guitarists is that we often use double stops (or "dyads") to imply the sound of a particular chord without playing every single note of it. I think this is likely what's happening here, two notes are being played but those two notes are actually giving the impression of a more complex chord happening (as mentioned earlier, likely a diminished chord of some description in this case).
F(b5 No 3rd)? Although that’s a lot to write on a chart of course.
Im glad I’ve never seen ‘ind’
If I encountered "Fb5" on a chart in a professional environment then I would absolutely read that as a power chord built on an Fb note.
Also, just in case anybody is interested and not already aware, the chords written in chord charts and above guitar tabs in books are not intended to be a reflection of the exact guitar part being played. They are there to provide context to the guitar part, and awareness to the overall harmony being created by ALL the instruments at that point.
Essentially telling us "The guitarist is playing these notes, but when you add in everything else then the overall sound is giving the impression of this chord"
If other people are going to read it, then Fb5 can cause problems, as other comments have shown.
Or maybe you could annotate it, like "F5 tritone" (F5 being the power chord)