hello,
my teacher also insisted on that (and we concurred). we used to called them dominant ninth chords with tacit root. From: "Christopher Smith" > when I was a classical undergraduate, one of my theory teachers > insisted that we call these chords "incV7b9" and "incV9" (incomplete > dominants missing the root, with the third in the bass) so that we > understood the function. but i would extend the mentioned concept to this. i wouln't call an "altered m7" as an "altered" since it became a dominant of the V (or II, VI or whatever), and now it presents a dominant chord structure (that is, maj3rd and min7th). so, just as an example, i would call II7/9(tacit root) to F#halfdiminshed in a C major context. of course, that II7/9(tacit root) is "working" as secondary (or auxiliary, you name it) dominant. > But in jazz, while the viidim7 often resolves up a half step to I, the > half diminished chord usually shows up as a predominant, moving down a > fifth to a dominant7, so we prefer to think of it as an altered m7 > chord (from the predominant area), rather than as a diminished triad > with a m7 (from the dominant area.) granted. > Yet old habits die hard, and many people from jazz still call it a > half-diminished chord, and everyone understands, even if it is not > functioning that way. regards, marcelo _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
