Question about lesson 51(Extended arpeggios in a single position)
- Thread starter Pablo De Miguel
- Start date
In principle it works for 6th chords as well. In g major you can find gmaj6, Dmaj6, Am6, Cmaj6, for E, B and F# the 6th that makes up the 6th chord is missing. So you can build 6th chord for those in the g major scale.
Augmented is a bit more tricky since augmented only refers to a raised 5th in a major chord, Not in minor.
Augmented is a bit more tricky since augmented only refers to a raised 5th in a major chord, Not in minor.
I have an other question, i this lesson i dont understand the F#min7b5, because at first PG says that the F#min7b5 used to be a F# diminised so in order to keep it a diminised we sould add the D# on the first string but that D# is the 6th note of the F# scale and when i was working in lesson 48 i thought that these chord would be an F#6 diminisded,or something like that, then PG says that we dont have D# in G chord family so we rise it to an E natural to turn that F# diminised into an F#min7b5 but E is the dominant 7th of F#, so why dont he call that chord F#min dominant 7 b5? Those two things confuse me a lot
Just to clear up on that dominant seventh question. Dominant seven refers to a chord which has the major third and minor 7 in it. It is NOT an interval. The reason you don’t call a F#min7b5 a F#mindom7b5 is because the major third is missing and dominant generally refers to a major chord with a minor 7. Basically calling a chord min dominant 7 is kind of plain wrong because a it has a major tonality due to the major third so you will never call it minor or major. It’s called dominant when it has both the major and minor tonality(major 3rd and minor 7th) so you can’t really say whether it is eother major or minor.
Similar threads
