Further delay is achieved by delaying the 6/4 chord. In classical music it's very common to delay the dominant chord using various other chords (especially the "I 6/4", the second inversion tonic chord), as a way of intensifying the suspense and the sense of direction. Better yet we'll get closer to being able to play all those cool connecting licks like Mark O'Connor does or Benny Thomason, or Django or George Benson or Jethro or Tiny. Even more as the improvising scales are dealt with! I hope Groveland, Eschliman,and McGann(theory cats, not a law firm!) wiegh in too, because the more attempts we all make to get to the bottom of this the closer we'll get to a true understanding of it. G-Bb-Db-E=G diminishedÄiminished chord theory is easier to hear, or see on the fretboard, than to grasp or explain. Perhaps the distinctions come from starting with a four note chord instead of a triad:Ä¡-b3-b5-bb7=diminished chord. A half-diminished chord, (a/k/a m7b5)does not double-flat the seventh. A chord with a flatted third, flatted fifth, and DOUBLE flatted seventh is a full diminished chord, for instance G-Bb-Db-E=G diminished. The circle you see for a full diminished chord indicates that all possible intervals have been lowered, as Shelby explained. Symbols for these activities are minus(to lower) and +(to raise). Remember that to diminish means to flat or lower by one half step, just as to augment means to sharp or raise by one half step.
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