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  #16  
Old 06-23-2016, 06:52 AM
Runepune Runepune is offline
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Quote:
Originally Posted by JonPR View Post
I think if anyone wrote Em7b5 where it should be C9/E, they're making a mistake. They're ignoring a bass note, probably. But there are contextual issues that might apply.
Yeah, that's the point I'm making. Chord notes are also often omitted on guitar, so just naming a chord based on the notes present may end up wrong depending on context.
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  #17  
Old 07-01-2016, 05:23 PM
Dalegreen Dalegreen is offline
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Em7b5 for example, can also be a m7(b9b13) voicing without the root note being played. So in the case of Em7b5, you can consider it an F#7(b9b13).
Very cool way to then use it as a dominant chord with lots of resolution options.
Thinking of it as a dominant chord, F#m7(b9b13), resolve it to the Bm7 for a V-1 resolution (key of B minor)

Last edited by Dalegreen; 07-01-2016 at 05:31 PM.
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  #18  
Old 07-02-2016, 06:23 AM
JonPR JonPR is offline
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Quote:
Originally Posted by Dalegreen View Post
Em7b5 for example, can also be a m7(b9b13) voicing without the root note being played. So in the case of Em7b5, you can consider it an F#7(b9b13).
Very cool way to then use it as a dominant chord with lots of resolution options.
Thinking of it as a dominant chord, F#m7(b9b13), resolve it to the Bm7 for a V-1 resolution (key of B minor)
Right - context is key (literally!) in that case. It resolves to B major very nicely too (B6/9 in this case):

-3---2------------
-3---2------------
-3---1------------
-2---1------------
-----2-----------
(2)----------------

The first chord is either an F#7alt (#5b9), or its tritone sub C9. It just happens to look like Em7b5 (or Gm6), but shouldn't be called that, in that context.
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