On Jan 6, 2005, at 11:03 AM, A-NO-NE Music wrote:
Christopher Smith / 05.1.6 / 10:40 AM wrote:
But in jazz, while the viidim7 often resolves up a half step to I
Hmmmmm....
In my experiences, when you see -7(b5) in standard jazz is at the second
diatonic position of a minor key (or key of the moment). There is no
resolution even though you hear tritone.
I see we are in agreement. It's in classical music that one sees more often the viim7(b5) moving directly to I, not so much in jazz.
In case of classical music, I know vii-dim is a substitute of V but it
will cause parallel movement, and it will be different chord by the time
inversion starts to move things around, as I was taught.... but tritone
will resolve, I guess :-)
Often diminished chords show up in first inversion in classical music, as you said, because it simplifies the voice-leading, but they still exist in root position, which is the case I was trying to make for diminished 7ths in jazz. Take Ain't Misbehaving as an example, in C, two chords per measure
C C#dim7 Dm7 D#dim7 Em7 E7 F6 Fm6
or A7(b9)/C# or B7(b9)/D#I would have to agree with my old classical theory teacher that in these cases, the diminished chords are indeed functioning the same as a dominant7 in first inversion. They don't always, but it is a very common way to use them, in common with classical theory.
Christopher
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