Intervals 1-b3-b5-b7. Key sound for ii° in minor keys and jazz turnarounds.
Показывает, как текущий элемент связан с ладом, тональностью и используется в музыке.
Softly anxious, "smoky", jazzy.
Yearning, irresolution, introspection.
Unstable — leans toward V7 and then to the tonic.
Recognized as "jazz minor" — softer than dim7, darker than m7.
Half-diminished seventh (1-b3-b5-b7).
b5 creates tension, b7 softens it.
b3, b5, and b7 — all three needed for the full portrait.
From dim7: b7 instead of bb7. From m7: b5 instead of 5.
Tritone 1↔b5 creates moderate pull.
Classic: ii°→V7→i in minor.
ii° in minor; substitution for ii7 in major (less common).
Transitional — bridge between subdominant and dominant of minor.
ii° of harmonic minor, vii° of major (less common).
Locrian mode, Locrian ♮2, harmonic minor.
Creates the characteristic minor ii-V turnaround in jazz.
Jazz, bossa nova, post-bop, fusion, Latin jazz.
Core move in minor ii-V-i phrases.
Starting point of the minor turnaround in jazz comping.
Opens the minor cadence, setting the tone for the turnaround.
Reveals the "dark" subdominant of minor — a key color of jazz.
Practice arpeggio patterns across positions on the interactive fretboard.