![]() ![]() Every approach is fine, if it helps you deal with musical situations in practice. There's no single correct way to reason about harmony. Maybe then look at how others had heard and written it, if you want to compare notes. Listen to the song and make up your own mind, what the chords should be. Play by ear! Don't look at ready-made sheet music, most of what you find on the internet or even published books is mis-heard, mis-transcribed, mis-spelled rubbish anyway. Try the replacement even regardless what the key is! Try everything. Do the replacement the other way around - when you see an A7 chord in a song that's in D minor, try replacing it with C#dim! Then try it in other keys. I strongly recommend that before seeking "proper" theoretical legitimization on the internet, you try and test your newly found hypothesis or candidate pattern on more example songs. That's a really good thing, that's how music should be learned! By playing example songs, worrying about theory later, if at all. You've been able to identify a perfectly good musical pattern from just one example. The more common tones two chords have, the more likely it is that they can work as substitutes of each other. Why did I believe that, when I'm telling not to believe internet transcriptions? Learn to keep your ears open and listen.Īnd now, the following is my original answer based on the assumption that what's played is actually C#dim. :/ Do not believe what you find on the internet, it is mis-heard, mis-transcribed, mis-spelled rubbish. The bass is Bb, it's a Bb dim7 chord, not C#dim, let alone "Db dim". Still keeping it so that the responses below making the correction make sense.)ĮDIT! I hadn't bothered to actually listen to the tune. ![]() Shows how much I know about music theory. (Edit: I made a mistake above of calling the diminished fifth a "fourth". (Although I suppose playing something like E7 instead of Ab dim might change the chord quite noticeably due to the highest note being an E, which doesn't belong in Ab dim.) from Db to A)? At least on guitar that tends to be significantly easier. This got me thinking: Wouldn't this work for any song in practice? Instead of playing a diminished chord, just play the 7 chord that's four semitones lower (eg. Or at least same enough that you don't really hear the difference in the song. It turns out it sounds pretty much exactly the same. So I thought, what happens if I just play A7 instead of Db dim. It's A7! Well, without the A on the fifth string, I suppose. this finger pattern is actually awfully familiar. Well, since E is in the chord, it would be the second fret. Then I started thinking what the fourth string would be. But that last one would be the fifth from D, so we lower it one semitone, so the third string is also free. Db minor would be first string free, second fret on second string, first fret on third string. I knew from having studied it a bit that it's like Db minor, but with the fifth lowered to a fourth. I have never really learned the diminished chords on guitar, so I was trying to figure out how to play the Db dim. D minor, then when the song goes "the phantom of the opera is there", at that "there" the chord is, apparently, the rather strange but cool-sounding D-flat diminished (at least according to sources online). I was figuring out how to play the chords of The Phantom of the Opera with my guitar. ![]()
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