Re: Quicky about naming a chord

Tom K. wrote:

>> Between what scales do you pivot? - It appears in harmonic minor.
> 
>  The Bo7 would enharmonically function as viio7 in the keys of C, Eb, 
F#/Gb,
> and A - both major and minor.  

If this is half-diminished, how do you get A in key Eb, and isn't it II 
in A minor?

If sharps and flats do not agree, then F# and Gb are not possible in 
exact modulation, though it might be possible if you admit intonation 
adjustments.

> The diminished viio7 has been used in major
> as well as minor since the Baroque.

I only discussed the dim7.

>>> I was looking for the pre-Wagner examples you seemed to imply existed.
>> I did not imply the pivoting thing - it is in your mind. I only noted
that 
>> dim7 was used long before the emergence of 12-ET.

> Nobody claimed it wasn't used before 12-ET.  You contradicted Dave who
wrote 
> "And diminished 7ths became *far* more interesting after the ubiquitous
use 
> of 12tet."  One of those "far more interesting" uses I was pointing out
was 
> obviously as a pivot chord to keys 3 or 6 semi-tones away (see example 
> above).  If Dave meant something else, let him correct me.

But you haven't shown how to pivot the dim7, only the 1/2 dim7.

   Hans Aberg