The Most Important Chord - Arpeggio Formulas Tab
por Lessons - Guitar67 views, adicionada aos favoritos 3 times
From beginner to advanced: a summary of all the important chord/arpeggio interval patterns, within a theoretical framework.Esta informação foi útil?
| Dificuldade: | intermediário |
|---|---|
| Afinação: | E A D G B E |
| Tecla: | C |
| Capotraste: | sem capotraste |
Autor: cdmemfgambmb5 [a] 156. Última edição em 22 de ago. de 2022
All the most common chord/arpeggio interval formulas:
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Relative interval pattern: Powerchord (1-5), root on C (C5)
---||---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|
---||-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|
-5-||---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|
---||---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|
---||---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|
---||---|---|-5-|---|---|---|---|-1-|---|---|---|---|---|---|-5-|---|---|---|---|-1-|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON POWERCHORDS: None
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Relative interval pattern: Major triad (1-3-5), root on C
-3-||---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|
---||-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|
-5-||---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|
---||---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|
---||---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|
-3-||---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|-1-|---|---|---|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON MAJOR TRIADS:
add2 (Cadd2) 1-2-3-5 > C-D-E-G
add9 (Cadd9) 1-3-5-9 > C-E-G-D (9 = 2, one octave higher)
augmented (C+5, or C#5) 1-3-#5 > C-E-G#
sus2 (Csus2) 1-2-5 > C-D-G
sus4 (Csus4) 1-4-5 > C-F-G
6 (C6) 1-3-5-6 > C-E-G-A (C6 = Am7/C)
Relative chromatic interval pattern, Root on C,
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
-7-||-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|
-5-||-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|
-2-||-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|
-6-||-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
2=9, b9=b2, #9=b3, 4=11, b5=#4=#11, b6=#5=b13, bb7=6
-----------------------------------------------------------------------------------------------------
Relative interval pattern: minor triad (1-b3-5), root on C
---||---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|
---||-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|
-5-||---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|
---||-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|
---||---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|
---||---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|-1-|---|---|-b3|---|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON MINOR TRIADS:
min add2 (Cmadd2) 1-2-b3-5 > C-D-Eb-G
min add9 (Cmadd9) 1-b3-5-9 > C-Eb-G-D (9 = 2, one octave higher)
diminished (Cmb5, or Cmb5) 1-b3-b5 > C-Eb-Gb
sus2 (Csus2) 1-2-5 > C-D-G
sus4 (Csus4) 1-4-5 > C-F-G
min6 (Cm6) 1-b3-5-6 > C-Eb-G-A (Cm6 = Am7b5/C)
Note I: an Cm#5 chord sounds like an Ab/C, so let's call it that.
(more theoretically correct btw would be: G#/B#)
Note II: some argue that an minb6 chord is a thing. Maybe in context yeah sure, but I mostly hear it as an
Maj7 with the 7th in the bass: Cminb6 = C-Eb-G-Ab, and AbMaj7 = Ab-C-Eb-G. Thats the same colour you see.
Relative chromatic interval pattern, Root on C,
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
-7-||-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|
-5-||-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|
-2-||-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|
-6-||-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
2=9, b9=b2, #9=b3, 4=11, b5=#4=#11, b6=#5=b13, bb7=6
-----------------------------------------------------------------------------------------------------
Relative interval pattern: Major7 (1-3-5-7), root on C
-3-||---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|
---||-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|
-5-||---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|
---||---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|
---||---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|
-3-||---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|---|---|-5-|---|---|---|-7-|-1-|---|---|---|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON MAJOR7:
Major7b5 (CMaj7b5) 1-3-b5-7 > C-E-Gb-B
Major7#5 (CMaj7#5) 1-3-#5-7 > C-E-G#-B
Major9 (CMaj9) 1-2-3-5-7-9 > C-E-G-B-D
Maj7#11 (CMaj7#11) 1-2-3-5-7-9-#11 > C-E-G-B-D-F#
Maj13#11 (CMaj13#11) 1-2-3-5-7-9-#11-13 > C-E-G-B-D-F#
Note I: the perfect fourth (4 or 11) interval sounds very dissonant within a Major7 environnement,
so a Maj11 chord is very uncommon. Even in an Maj13 chord (which theoretically correct contains a
perfect fourth) people most of the time mean: please exclude the 11, or make it a #11.
But since an Maj13 on guitar anatomically translates to a C6 chord (or C6/9) we as guitarplayer rarely become
aware of this misunderstanding, so we happily keep on writing CMaj13 while all piano playes go... Eeeuwhh..
Note II: on the guitar some chord structures are literally impossible to realize.
So obviously you need to dich some notes. None essential intervals such as the fifth (5) are first
candidate to toss. Unless you supposed to play a b5, like in an m7b5 chord, in that case: don't toss the b5!
What you would like to keep are the essential notes: those are the root (1),
the third (3 or b3), the seventh (7 or b7) and the interval that is literally in the name of the chord.
So in a CMaj#11 the #11 (or #4) is essential, and here you could toss the ninth (9). Sometimes a root-note
can be concidered as non-essential since the bass player is already playing that note.
Relative chromatic interval pattern, Root on C,
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
-7-||-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|
-5-||-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|
-2-||-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|
-6-||-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
2=9, b9=b2, #9=b3, 4=11, b5=#4=#11, b6=#5=b13, bb7=6
-----------------------------------------------------------------------------------------------------
Relative interval pattern: Dominant7 (1-3-5-b7), root on C
-3-||---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|
---||-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|---|---|
-5-||---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|
---||---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|
---||-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|
-3-||---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|---|---|-5-|---|---|-b7|---|-1-|---|---|---|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON DOMINANT7: with a dominant7 chord you can really fool around, so here we go:
Dominant 7 (C7) 1-3-5-b7 > C-E-G-Bb
Dominant 9 (C9) 1-3-5-b7-9 > C-E-G-Bb-D
Dominant 13 (C13) 1-3-5-b7-9-11-13 > C-E-G-Bb-D-A
Dominant 7b5 (C7b5) 1-3-b5-b7 > C-E-Gb-Bb
Dominant 7#11 (7#11) 1-3-5-b7-9-#11 > C-E-G-Bb-D-F#
Dominant 7#5 (C7#5) 1-3-#5-b7 > C-E-G#-Bb
Dominant 7b13 (C7b13) 1-3-5-b7-9-11-b13 > C-E-G-Bb-D-F-Ab
Dominant 7b9 (C7b9) 1-3-5-b7-b9 > C-E-G-Bb-Db
Dominant 7b9b13 (C7b9b13) 1-3-5-b7-b9-b13 > C-E-G-Bb-Db-F-Ab
Dominant 7#9 (C7#9) 1-3-5-b7-#9 > C-E-G-Bb-D#
Dominant 7 sus4 (C7sus4) 1-4-5-b7 > C-F-G-Bb
Dominant 9 sus4 (C9sus4) 1-4-5-b7-9 > C-F-G-Bb-D
Dominant 13 sus4 (C13sus4) 1-4-5-b7-9-13 > C-F-G-Bb-D-A
Note I: all the lower numbers are implied to be in the chord. So an C11 naturally contains a b7
and an 9, and a C13 an b7, an 9 and the 11. This makes life a lot easier. And if you want to be specific,
you can always point out the specific intervals, and even point out which one you don't want to be in it;
Example: C7 b9b13 no 11, means: 1-3-5-b7-b9-x-b13
Note II: on the guitar some chord structures are literally impossible to realize.
So obviously you need to dich some notes. None essential intervals such as the fifth (5) are first
candidate to toss. Unless you supposed to play a b5, like in an m7b5 chord, in that case: don't toss the b5!
What you would like to keep are the essential notes: those are the root (1),
the third (3 or b3), the seventh (7 or b7) and the interval that is literally in the name of the chord.
So in a CMaj#11 the #11 (or #4) is essential, and here you could toss the ninth (9). Sometimes a root-note
can be concidered as non-essential since the bass player is already playing that note.
Relative chromatic interval pattern, Root on C,
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
-7-||-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|
-5-||-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|
-2-||-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|
-6-||-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
2=9, b9=b2, #9=b3, 4=11, b5=#4=#11, b6=#5=b13, bb7=6
-----------------------------------------------------------------------------------------------------
Relative interval pattern: minor7 (1-b3-5-b7), root on C
---||---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|
---||-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|
-5-||---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|
---||-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|
---||-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|
---||---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|-b7|---|-1-|---|---|-b3|---|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON MINOR7:
minor 9 (min9) 1-b3-5-b7-9 > C-Eb-G-Bb-D
minor 11 (min11) 1-b3-5-b7-9-11 > C-Eb-G-Bb-D-F
minor7 add11 (min7 add11) 1-b3-5-b7-x-11 > C-Eb-G-Bb-F
minorMajor7 (minMaj7) 1-b3-5-7 > C-Eb-G-B
Note: on the guitar some chord structures are literally impossible to realize.
So obviously you need to dich some notes. None essential intervals such as the fifth (5) are first
candidate to toss. Unless you supposed to play a b5, like in an m7b5 chord, in that case: don't toss the b5!
What you would like to keep are the essential notes: those are the root (1),
the third (3 or b3), the seventh (7 or b7) and the interval that is literally in the name of the chord.
So in a CMaj#11 the #11 (or #4) is essential, and here you could toss the ninth (9). Sometimes a root-note
can be concidered as non-essential since the bass player is already playing that note.
Relative chromatic interval pattern, Root on C,
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
-7-||-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|
-5-||-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|
-2-||-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|
-6-||-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|
-3-||-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|-4-|-b5|-5-|-b6|-6-|-b7|-7-|-1-|-b2|-2-|-b3|-3-|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
2=9, b9=b2, #9=b3, 4=11, b5=#4=#11, b6=#5=b13, bb7=6
-----------------------------------------------------------------------------------------------------
Relative interval pattern: minor7b5 (1-b3-b5-b7), root on C (Cm7b5)
---||---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|
---||-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|
---||---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|
---||-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|
---||-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|
---||---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|---|-b5|---|---|---|-b7|---|-1-|---|---|-b3|---|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON MINOR7b5: Not much going on here, maybe you can add the natural ninth (9), so:
minor7 9b5 (min9b5) 1-b3-b5-b7-9 > C-Eb-Gb-Bb-D
-----------------------------------------------------------------------------------------------------
Relative interval pattern: C diminished7 (1-b3-b5-bb7) > bb7 = 6 (Cdim7)
---||---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|
---||-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|---|-5-|---|---|---|---|
---||---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|
---||-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|
-6-||---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|
---||---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|---|-b5|---|---|-6-|---|---|-1-|---|---|-b3|---|
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
COMMON VARIATIONS ON DIMINISHED7: Also not much going on, maybe you can add the natural ninth (9), so:
diminished9 (dim9) 1-b3-b5-bb7-9 > C-Eb-Gb-Bbb-D (bb7 = 6, Bbb = A)
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