The Minor 7 Flat 5 (m7b5) chord, also known as the Half Diminished Seventh chord is a chord frequently used in jazz, mostly as the ii portion for the ii-V7-i progression in a minor scale, serving as a predominant of sorts.

Now for those who do not know what a Minor 7 Flat 5 looks like, it’s a diminished chord plus a minor seventh.  A diminished chord is a minor chord, with the fifth of the triad flatted.  For example, C minor is formed by C-Eb-G.  A C diminished chord is formed by C-Eb-Gb, instead of a G.  The minor seventh is the same seventh you would play on a Cm7, which is the Bb.

The quickest way to form the chord would be as such.  We will use Cm7b5 as the example.

1. Start with a C.
2. Use the next note as if you were forming the minor chord triad.  In this case, an Eb, as a Cm triad is C-Eb-G.
3. Starting with the note in step 2 (Eb for this example), create its minor chord triad.  Ebm would be formed as Eb-Gb-Bb.
4. Voila, your Cm7b5 chord is C-Eb-Gb-Bb.

Personally, I feel this makes it easier to think of the chord on the fly when playing piano.  Your left hand would play the first note, then your right hand would play the minor chord in step 3.  A Cm7b5 is the equivalent of Ebm/C, which may make it easier for some folks to visualize.  A Bm7b5 would be Dm/B.  An Am7b5 would be a Cm/A, etc.

So hopefully this makes for a good mnemonic device.   It should help you make those minor scale 2-5-1′s a little quicker. =]

More to come.

-mnshyn

Back to burning mics again like we used to. Here’s another heater, with our very own Brian Bullion on the beat. Stay tuned, because this is only the beginning. =]

More coming your way, very soon!

-mnshyn

That’s right.. Doc L, MooN ShynE and K-Maculate, rippin mics like old times! Watch out for the album, “The Game Plan”… coming later this year. =]

More coming your way, very soon!

-mnshyn

Back in 2000, right before I finished high school, I figured out how to make beats. I always wanted to rhyme, and two of my best friends, Doc and K, wanted in. And so, the group D.i.c.K. (lol at that name, horrible choice, and that was mostly my fault) was born. The name was an acronym built on our rap pseudonyms, Doc L, iLL cHrome (MooN ShynE), and K-Dogg (K-Maculate).

After two years of that, we disbanded over creative differences, or more specifically, I was just too dicator-like. After a few years, I understood that, and it was only then I started to really value what a true collaboration was like. I did collaborate with them a few times, but on separate projects and never together like before.

Years later, after some time apart (though we never truly lost touch, just weren’t seeing each other nearly as often), we all ended up hanging out again and staying connected. Eventually, K and I started Black and Blue Ink. with two albums recorded so far, and now Doc is back.

To say that I’m happy he’s back is an understatement. I feel now that my musical life is complete again because I have my two original brothers with me. The only thing to truly seal the deal is for us to record a track again. Three solid verses from three solid emcees on a beat. If we record an album, I’d be ecstatic, and this time we’d all enjoy it, and we’d all get as creative as possible. It’d be amazing, I’m sure. The BBI albums were great projects, and I’m sure these next projects with Doc will be just as awesome.

The one thing I appreciate about being a solo artist is that you have no boundaries. Since I have the freedom to be both in a group and a solo artist at the same time, I can just divide up my ideas between my solo self or group self, whichever is more appropriate. When I’m in group mode, we make the best of the sum of our parts. Any ideas that I don’t use with the group I can use on my own, and I wouldn’t have any reservations about that.

My goal now is to see how creative my boys can get. I want to see Doc rhyme the breaks off a beat like I know he can do, K hit the track off with some off the wall stuff, and I want to get a couple of moments where we all listen to a mix and go crazy because the illness we are listening to was a product of all of our ideas. High-fives, pounds, and cheering all around. That kind of experience. I’ve been there with everyone I’ve worked with, except the two of them at the same time, at least recently.

Here’s hoping to that! =] And here’s the first track we’ve done in 10 years, called “Our Times.” Hopefully, it’ll be the first of many. =]

More to come from us. 2012 is shaping up to be a great year for MsP, after a fairly quiet 2011. =]

-mnshyn

Two songs this month! We’re starting 2012 correct!

More coming your way, very soon!

-mnshyn

I know it’s been a while since the blog has been active, and what better way to get back into it than a new song? =]

After debating for a while on how to attack a new album, I’ve finally come up with some really good ideas I want to put down. This is the first of a number of tracks that will be coming out in the next few months.

Here’s the new album name: Phase 4 – Take the Lead

You can dissect that one however way you like. =]

More coming your way, very soon!

-mnshyn

New Official Video for Black and Blue Ink.’s track Wordsmiths, off The Lyricist Manifesto album, available on iTunes! Editing done by ADM, directed by K the Strong Armed Balkan.

I know it’s been real quiet around here lately… but things will be picking up again soon, starting with this video!

Stay tuned!

-mnshyn

This one’s a really old version of T-RackS that I’ve used to help me master finished mixes. If you don’t know how to master tracks or can’t afford someone else to do it, you can use this app to maximize the sound out of your tracks. Later incarnations of this app include VST versions that you can use on your DAW’s, so if you like this app, you may want to research the newer versions of T-RackS as well as other similar apps such as iZotope Ozone.

Head on out to our Production Vault and get the app today!

Also, remember to sign up for our Mailing List to get weekly updates on our music, the blog, and our production vault!

More coming your way!

-mnshyn

Here’s the last set of breakbeats. To all my boom-bap producers, you’re welcome. =]

Next week, we’ll take things in a different direction, and maybe bring back some more instruments? Come back next week to find out!

Head on out to our Production Vault and get the VSTi today!

Also, remember to sign up for our Mailing List to get weekly updates on our music, the blog, and our production vault!

More coming your way!

-mnshyn

The next part in the series, this one contains more funky dopeness, including one of the most recognizable breakbeats of all time, Melvin Bliss’s “Synthetic Substitution.”

One more to go in the set. With 300 breakbeats so far between all 3 parts of the series, you boom-bap producers out there have a lot of drums to work off of.

Head on out to our Production Vault and get the VSTi today!

Also, remember to sign up for our Mailing List to get weekly updates on our music, the blog, and our production vault!

More coming your way!

-mnshyn