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In music theory, the dominant seventh flat five chord is a seventh chord composed of a root note, together with a major third, a diminished fifth, and a minor seventh above the root (1, ♮ 3, ♭ 5 and ♭ 7). For example, the dominant seventh flat five chord built on G, commonly written as G 7 ♭ 5, is composed of the pitches G–B–D ♭ –F:
Hirajoshi scale on C. Play ⓘ 1 3 ♯ 4 5 7 2W-W-H-2W-H (0,4,6,7,11) 5 ...
Since the term dim 7 (as in Bdim 7) meant something else, the accurate but unwieldy term "minor seventh flat five" (as in B ø 7) came to be used. [ 16 ] Despite the appearance of the word "diminished" in the name of this type of seventh chord, its sound differs considerably from that of a diminished seventh chord.
The circle of fifths text table shows the number of flats or sharps in each of the diatonic musical scales and keys. Both C major and A minor keys have no flats or sharps. v
For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G 7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G 7 would be represented as V 7 in the key of C major.
Thus, a 12-note chromatic scale adds 5 pitch classes in addition to the 7 lettered pitch classes. The following chart lists names used in different countries for the 12 pitch classes of a chromatic scale built on C. Their corresponding symbols are in parentheses. Differences between German and English notation are highlighted in bold typeface ...
Flat five, the lowered fifth scale degree or chord factor fifth, may refer to: Tritone; Locrian mode; Dominant seventh flat five chord; Altered chord
Acoustic scale or Lydian dominant scale t-t-t-s-t-s-t So-called because it is close to the scale built on natural overtones and combines Lydian raised fourth with Mixolydian (Dominant) flat seventh; Aeolian dominant scale or Mixolydian ♭ 6 scale t-t-s-t-s-t-t Like natural minor (aeolian) but with a major third; Half diminished scale on C Play ⓘ