How do I write out this chord?

[Deacon_Blues]

Found out a nice progression to use it in:

| Amaj9/C#, H6/D# | Emaj7, Fm7b5 |

| F#m9, H13 | Em9, A13 |

Had to use H so you know how it feels for me when all you guys use B...

 

[HaVIC5]

You probably want an H13/D# or an H7/D#, because there doesn't seem to be enough dominant motion going to the second bar. I've never seen a m7(b5) used in that context - its far more likely to be an Fdim7, or very technically speaking an E#dim7 (since it's going to an F-type chord). The minor 7's resolution on the Fm7(b5) to the fifth of the F#m7 is far less strong (major second) than the resolution of the diminished seven to the fifth (minor second). Yeah, but I really dig this kind of progression.

 

[Deacon_Blues]

You probably want an H13/D# or an H7/D#, because there doesn't seem to be enough dominant motion going to the second bar. I've never seen a m7(b5) used in that context - its far more likely to be an Fdim7, or very technically speaking an E#dim7 (since it's going to an F-type chord). The minor 7's resolution on the Fm7(b5) to the fifth of the F#m7 is far less strong (major second) than the resolution of the diminished seven to the fifth (minor second). Yeah, but I really dig this kind of progression.

Thanks for the feedback on the progression.

When I played this on guitar, the second chord didn't sound "right" to me with a 7th added so I'll stick to the H6/D#. It might fit well in a solo over the chord though. Btw, I want the G# as the top note throughout the progression except from the last bar.

I already thought of the alternative of using an Fdim7 instead of the half-diminished Fm7b5, but to me the latter sounded smoother in the progression although less dominant. Going to Fdim7 sounded a bit too kliché to me, but I guess it's a lot about taste. And of course voicings matters a lot when speaking about chords like these.

 

[HaVIC5]

Thanks for the feedback on the progression.

When I played this on guitar, the second chord didn't sound "right" to me with a 7th added so I'll stick to the H6/D#. It might fit well in a solo over the chord though. I also want the G# as the top note throughout the progression except the last bar.

I already thought of the alternative of using an Fdim7 instead of the half-diminished Fm7b5, but to me the latter sounded smoother in the progression although less dominant. Going to Fdim7 sounded a bit too kliché to me, but I guess it's a lot about taste. And of course voicings matters a lot when speaking about chords like these.

It depends on how you voice it, of course. I can see how on a guitar it might be difficult to voice it with the D# on bottom, G# on top, and B, F#, and A in the middle,

 

[onlyclave]

I thought H usually signified Bb. So much for being an American and using our movable 'Do' solfege system.

 

[alexei]

it doesn't look that complicated...

If you play Am7 and then a minor 6th, done. (it would be Am7/6m or something)

Sounds nice if you play Am7, then use that chord as a transition to a C

 

[alexei]

I thought H usually signified Bb. So much for being an American and using our movable 'Do' solfege system.

Now that you mention, in many of my physics books, H = B/u, where "u" (omicron, in greek alphabet) is the magnetic permeability of any material but we have to step into magnetism theory and that should go to off-topic forum

Many of us could find that wiki link quite interesting to understand the magnetic principles in the pickups.

 

[Deacon_Blues]

German H = Standard B

German B = Standard Bb


Most people here in Scandinavia (don't know about Germany) advice against using B for Bb though, because of the obvious risk of misunderstanding. So I use mainly H and Bb because it can't be misunderstood that way. However I'm trying to move away from H and learn to use B instead because that's what the rest of the world do.

 

[phippsyg]

I've come to my senses reagrding my previous advise. It is actually Theta flat 5.

 

[HaVIC5]

I thought H usually signified Bb. So much for being an American and using our movable 'Do' solfege system.

Whenever I get confused, I think about the BACH motive, which translated into the "normal" notation is Bb-A-C-B. It's amazing how much music Bach got out of this motive, considering its chromaticism.

 

[bassrique]

What is the origin of calling a B an H? Or perhaps I should as why we changed it as well?

 

[HaVIC5]

I'm pretty sure it has to do with the temperment systems of the Renaissance and the concepts of musica ficta, or early attempts are writing chromaticism. Bb and F# were the first accidentals to be used, and I guess people in Northern Europe didn't like the concept of a flat - just sharps, so added a note letter to account for the pitch B natural. I'm not entirely sure, that's just a guess, you'd have to get a musicologist to tell you the real reason why.