Basic triad question, please.

[nimbleswitch]

Am I correct that the major 7th is built into the ∆ symbol, such that C∆ and C∆7 sound the same in playback? They do to my ear.

Co and Co7 also sound identical to me. So how do I make a diminished triad?

Is C aug triad C+ ?

Thanks very much.

[pdxdjazz]

Am I correct that the major 7th is built into the ∆ symbol, such that C∆ and C∆7 sound the same in playback? They do to my ear.

Co and Co7 also sound identical to me. So how do I make a diminished triad?

Is C aug triad C+ ?

Thanks very much.

You are correct x3
There's helpful info here:

Glossary
http://www.irealb.com/forums/showthr...&p=282#post282

)BOB

[nimbleswitch]

Thanks, Bob. And your further two postings after the glossary are invaluable. So, it appears that triads for playback are: C, Cm and C+. There is no available triad for a diminished chord since Co and Co7 both produce C Eb Gb Bbb on playback, but the very nature of a diminished chord (minor 3rds between all notes) would be kind of lost without the bb7 on there anyway, so just 1 b3 b5 wouldn't be all that desirable, I'm supposing.

[pdxdjazz]

While there may be circumstances where the author could conceivably prefer a diminished triad voicing, the player doesn't offer that option. Guitarists frequently play arpeggios/voicings using all the ascending/descending minor-third intervals.
('cause it's both easy AND impressive)

It appears you are correct that major, minor and augmented are the basic triads available.
)BOB

[nimbleswitch]

Interesting, the bit about guitarists. The whole reason that I'm interested in triads at all is because I'm a beginning bass player, and at the early-beginning stages a bass player can respond to all chords with triads. For example, any diminished chord, regardless of its extended quality, can be played over with 1 b3 b5 and — although it won't be pretty — it won't be "wrong," either. I've made some play-along charts with various jazz chords including triads, and normally I would include just triads in my simplest iReal Pro play-along charts, but that isn't strictly necessary because at the early stages I can still choose to play just 1 b3 b5 regardless of whether the chord player is also crashing a bb7. But I wanted to know what I was hearing when iReal Pro played back Co or Co7, and your further comments to the glossary gave me exactly what I was looking for. Thanks, again, Bob.

[pdxdjazz]

My go-to bass move for dim and half-dim is often the root, then the b5 on the adjacent string and the root again on the next. It sounds nice (to me) as an arpegggiated sustained chord ascending or descending.
)BOB

[nimbleswitch]

Nice idea. The 1-2-4 fingering on my upright is smooth that way, too. The fifth is the one I want to hit when it's not a natural. How do you play it when you want to hit the flat 5 on the 3 beat in a 4-beat measure?

[pdxdjazz]

As with so many other questions, the answer is: well, it depends.....
As a musician, you are able to play any sound your instrument can make at any time during a piece.
What makes you a musician instead of a technician is that the sounds you choose to make and when you choose to make them (or not) will be, well, *musical*.
What's musical (or not) is of course, subject to opinion.
Listen actively, choose wisely.
)BOB

[nimbleswitch]

Yes, I'm definitely at the technician stage. Hope I can move on from here. Musicianship feels a long way off.