C Support for optional parameters - very handy for some COM interoperability.
You'll hear this most commonly used in jazz. Dm7 - G7 - Em7b5 - Aaug7 - Dm7 - G7 - Cmaj7 - click to hear You can hear how the tension in that half diminished iii chord is transferred to the augmented 7th chord before the natural ii V I resolution.
Half diminished ii chord Half diminished chords are also often used as the ii chord of major and minor key progressions before the V chord.
C - Dm7b5 - G7 - C - click to hear We can also use a dim7 chord on the same ii chord root in place of the V chord For example, if the tonic was E major E major - Edim7 - E major - click to hear You could also do the same with a minor tonic.
What this does is destabilise the tonic for added interest. Plugging whole step interval gaps Essentially, you can fill any whole step interval between two chords in a scale with a diminished 7th chord. For example, the major diatonic scale is as follows We can literally plug those whole step W gaps between the 1 and 2 chords, 2 and 3 chords, 4 and 5 chords, and 5 and 6 chords with a dim7.
We can now visualize the scale as follows If we were playing in the key of C, some examples of the above technique would be as follows You can also do the same with minor key progressions or any progression that uses whole steps. The symmetry of diminished seventh chords If you look at the intervals of a diminished seventh chord, you'll notice that each one is separated by a minor 3rd.
In other words, there is equal spacing between each note of a dim7 chord. It means we can apply a pretty cool trick when playing the chord in a progression. So Cdim7 would move to Ebdim7. From Ebdim7 we'd end up at F dim7. Here's what we get click to hear Don't just move in minor 3rds using one root string.
Try moving in minor 3rds from the E to A string and A to D strings, using the chord shapes you learned earlier. Because of the symmetry of the dim7 intervals, moving in minor 3rds like this produces exactly the same chord, but each new position is a different inversion of that original dim7 chord.
Practically, that means whenever we choose to play a dim7 chord, using any of the functions covered in this lesson, we can also play any of its related positions based on its minor 3rd intervals.
So let's take a progression from earlier using the whole step plugging technique C - Edim7 - Dm7 - G7 - C - click to hear Because of this minor 3rd symmetry, Edim7 is actually the same as C dim7, its intervals are just inverted, changing its voicing.
You can use this method to create more elaborate chord progressions, such as the following Click to hear All I'm doing there is moving in minor 3rd intervals up or down the fretboard whenever I use a diminished seventh chord. It was just an example, so don't overuse it!
I hope this lesson has given you some fresh ideas for your songwriting. Keep experimenting with using diminished guitar chords in different ways. Please support this site.WriteLine Method (FileSystemObject) See Also Writes a specified string and newline character to a TextStream file.
alphabetnyc.comine([string]) Arguments Remarks) See Also. Need Help with VBScript? Download VbsEdit! VbsEdit now alphabetnyc.com,.js,.wsf and . The main difference between the two methods is that WriteLine will write a new line to the file, where Write will just write the data (without a new line character).
Calling alphabetnyc.comine() will just write a new line to the file. The difference between a predominant (for example, II degree) and a secondary dominant (V/V) is smaller than what the symbols give reason to expect. In jazz chord analysis, the following symbols are used: II7 = D7 and IIm7 = Dm7 (in C major).
Apr 13, · In the Class Notes video "Major and Minor: What's the Difference?" Jack the Lumberjack and Oliver, his tiny feathered friend, help us understand these . Chords derive their names from the root note; so a C chord has C for its root note and a G7 chord will have G.
The interval between the root note and the third determines whether a chord is a major or minor. Chords may be strummed or the notes picked individually though beginners find strumming much easier.
C, E, and G are the chord tones for a C major chord. No order of notes from low to high is implied when I say “chord tones.” A chord pattern is a pattern of chord tones on the bass fretboard. I will start you off with easy chord patterns and eventually teach them to you all over the fretboard.