The previous pages dealt with one basic sound. This basic sound is duplicated in four different minor keys using only the harmonic minor mode. When written enharmonically, this basic sound belongs to 4 different keys.the HARMONIC MINOR MODE IS THE ONLY ONE MINOR MODE USED IN THIS LESSON.In A minor, G#dim7 = the vii7 chord. In C minor, Bdim7 = the vii7. In Eb minor, Ddim7 = the vii7 chord. In F# minor, E#dim7 = the vii7 chord.
In this lesson
there is a comparison between scales, chords, arpeggios and the use of passing tones between the tones of each diminished chord. The passing tones between the same chord tones are different, depending on the key the music is in at that moment in time.
In the key of Am, the notes of the scale are A, B, C, D, E, F, G#, A. The vii7 chord is G#dim7 and the notes are G#, B, D, F
In the key of Cm, the notes of the scale are C, D, Eb, F, G, Ab, B, C. The vii7 chord is Bdim7 and the notes are B, D, F, Ab.
In the key of Ebm, the notes of the scale are Eb, F, Gb, Ab, Bb, Cb, D, Eb. The vii7 chord is Dim7 and the notes are D, F, Ab, Cb.
In the key of F#m, the notes are F#, G#, A, B, C#, D, E#, F#. The vii7 chord is E#dim7 and the notes are E#, G#, B, D.
If we string all the tones of these four scales together, we have A, Bb, B/Cb, C, C#, D, Eb, E, F/E#, F#/Gb, G, G#/Ab, A and this is called the chromatic scale. The slash between the letters (/) indicates the equivalent enharmonic name of the note, or tone. Almost like an alias.
If we look at the keys and only put one tone between chord tones there is a variation on which sound should be used. G#dim7 = G#,B,D,F. Diatonic tone between G# & B is A. Ddim7 = D,F,Ab,Cb. Diatonic tone between Ab/G# & Cb/B is Bb.
Same sounds. Right? Different keys!
The same situation exists between the other exact same sounds of the vii7 chord that are in different keys. Four different names. Same sound. Four different keys, depending on how the chord is spelled and what key you are playing in at that time, or going to be playing in via modulation (changing key).
