greg wrote:
Does this count? at 1:18?
So the b5 of the diminished isn't played in the left hand chord, but it is played in the melody, yes?
So the b5 of the diminished isn't played in the left hand chord, but it is played in the melody, yes?
Perhaps i should better define what I'm talking about... Isn't passing diminished when one inserts a diminished 7th in between "normal" chord changes a halfstep above or below the root of the "normal" chord changes? As an arrangement tool, part of substitution concepts? Embellishment ideas and stuff...Like so...
All Of Me
Cmaj6 E7 A7 Dmin7 E7 Amin7 D7 Dmin7 G7
becomes
Cmaj6 (C#dim) E7 (Fdim) A7(A#dim) Dmin7 (D#dim) E7 (Fdim) Amin7 (A#dim) D7 (D#dim) Dmin7 G7
As an example, I played the first 16 measures of "All Of Me" in this way real quick on guitar (No "implied changes" the changes are their in their entirety...) Very rough, and most often I think passing diminished happens on the last beat of the chord's measure adding a bit of tension to further resolve to the "home chord"...
https://soundcloud.com/jayesskerr/all-of-me-norm-vs-passing-diminished
Sangre Cristo, what a great tune (I should learn that one, eh?
) It DOES have that F# dim chord in it, (The triad version of the vii chord which is an implied F#min7b5 chord, NOT the same function/sound as diminished, or diminished 7th) and perhaps the inclusion of the odd tritone here and there makes for a diminished "moment" but I'm thinking that actual "passing diminished" applied to Sangre Cristo might look more like so (for the sake of discussion);Em Fdim7 Dmaj D#dim7
Em Fdim7 Am7 A#dim7 F#dim Gdim7 B7 Bdim7 etc etc
John Scofield, Frank Gambale and Mike Stern do this all the time...