Rearranging and respelling the notes, one finds a potential reason for its functional sensibilities: B(♭9)! The chord contains a major triad, and that can give this set of notes a sense of stability that diminished seventh chords lack.Īnother cool thing: This chord can go really well with the G harmonic major scale, and you can make some beautiful sounds out of that. It can function also very similarly to a fully diminished chord: iii7 to ♭iii°maj7 to iim7 sounds nice in a functional jazz context. Built on the 4th scale degree in major, it makes a nice minor-plagal-ish sound similar to that of ivmaj7. This is often done in the first bar of the jazz-standard 'Misty' by Erroll Garner.Īs a final note, also note that this chord can be written/interpreted/heard as a slash chord: B/C.īut in all seriousness, though I'd call it °maj7, I've seen plenty of use for that chord. In this usage, it could resolve to a Cmaj7 chord by chromatic movement of the Eb and F# to the E and G, respectively. Try adding the diminished 7th to see if you still like the sound. So in this context your chord would be a Cdim maj7 (even though you leave out the diminished 7th Bbb/A). All its notes are contained in the C diminished scale:Īnd the major seventh (B) is a possible tension for a dim7 chord. In that case it functions as a diminished seventh chord. Of course, this is also an altered dominant chord.īut it can also function as a chord in its own right, i.e. It could also be the upper structure of an Ab7(#9) chord: Used in that way, it is an altered dominant chord. I usually use this chord as an upper structure of a D13(b9) chord:
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