I was flicking through the theory and violin practical leaflets and I got to thinking about diminished seventh chords. I know! It's all go in my house.
Starting from the major scale the "recipe" is (1) ¨3 ¨5 ¨¨7 or by interval (1) m3 dim5 dim7.
So starting on G you'd have G Bb Db Fb. So far so good. But, I've heard that some people teach the chords using enharmonic names, which I didn't really get, because (using the example here):
(a) If you use the E, then you're using the sixth of the scale, not the seventh, so it's not a seventh chord any more.
(b) I was always taught that you shouldn't mix sharps and flats in a chord.
© From a strings point of view. If you are playing in a quartet then the intonation is different for a Db than for a C#. OK at grade five a player might not have the skill to recognise the finer points of the intonation difference, but down the line couldn't this become a problem?
So I was wondering what teachers here on the forum do.
Would you teach the chord as those notes or use enharmonics such as G Bb C# E?
Theory wise these don't come up until grade seven, but they are in grade five practical, so do people:
(a) go through the theory of how to create the chord and then either use the basic recipe (so in this example the one with all flats) or
(b) create the chord and then use the enharmonics (a mix of sharps and flats in this example) or
© just give the chord.
If ©, which version do you teach?
Obviously I'm coming at this from a violin perspective, but I'm equally interested in how teachers of other instruments approach this.