#1
Could someone suggest (if you think there is one) a good diminished chord(or any othe chord you think might sound good) to use instead of B7 in a blues turnaround in E?

This might sound like a stupid question, but it's not for an actual song it's for an invention

(i might have some termanology wrong, I'm not so sure)
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#2
Cdim, Ebdim, Gbdim, Adim, B7b9, F7?

First that came to mind.. Just try and play something and see if it sounds good
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#3
Well B7 is the V7, so if you want to add some tension with a b9, and drop the root, you can replace it with D#dim7. (The notes of B7b9 are B D# F# A C, omit the B and it's a dim7.)

Since the notes of a dim7 are all spaced apart by a minor third, you can make any note in it the root, it depends on what you want the bass to play. D#, F#, A, or C. I would probably go with D# so it leads right up to the E, but experiment and see what works.

(I think that's what you're asking? lol)
#4
Quote by elvenkindje
Cdim, Ebdim, Gbdim, Adim, B7b9, F7?

First that came to mind.. Just try and play something and see if it sounds good


He said it best.

Remember that Theory is a good thing. It helps you understand the "method" behind the madness (like math) . But the BOTTOM LINE is this-- does what you play soung good to you? and MOST IMPORTANTLY to others?

If the answer to this question is yes, then you have the right chord (no matter what it is, how it is written or how it is displayed/pronounced )

Referenece--Check out "satch boogie" Joe Satriani. Listen to his backing track on GTR and you will notice a blues boogie. Also note that --theoretically it can be explained but for the most part it is a 12 bar blues variation that sounds good.
#5
I forgot to mention, if you're playing dim7ths, three chromatic dim7 chords will handle every dim7, since each dim7 could possibly have three roots. So all you have to do really is try out a few chromatic dim7s, see what sounds best to you, and then decide on a root.
#7
Thanks, alot, I ithnk I've decided on Dsharpdim7 played with Dsharp as the root

Cause it gets that tension of going up one semi-tone back to the E

I know what i mean even if no one else does,
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#8
Alter some tones on B7 I like B7#5.
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#9
yea chromatic voice leading pwns! go with the #5. it'll resolve by a half step to the 3rd of your E chord
#10
George Gershwin knew this very well.
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#12
e|----3---3----3---3-------3--------------|
B|-3---2----1---0----x----0--------------|
G|---------------------x----2--------------|
D|---------------------x----1--------------|
A|--------------------------2--------------|
E|-----------------------------------------||


GAH! I can't use computers! The one that's not in code seems more readable anyway. So, that's what I've started playing, and that's B7sharp5 is it?


(my keyboard doesn't have a sharp sign)
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Last edited by meh! at May 16, 2006,
#14
ah, that does sound less cloudy, thanks alot.
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