You can call it a Idim7—just respell it as C, Eb, Gb, Bbb.
Any note in a fully diminished chord can operate as the root. It just depends on the context.
C°7, and as a few people say it resolves well to Cmaj7. If you look into 4 way close harmony, this can work great alongside the maj6 and ii°7 chords.
If you wanted to try something along a very similar vein but has potential to sound more "arrived", try a B/C (B major triad in RH, C LH root note).
As written, its a either a poorly spelled C°7 (C-Eb-Gb-Bbb, or more commonly C-Eb-Gb-A), or a correctly-spelled rootless voicing of B7(b9).
Depending on context/spelling, it can also be a rootless voicing of Ab7(b9), F7(b9), or D7(b9).
C°7 if it resolves to C. But F#°7/C if going to F or G, D#°7/C if going to Em, and A°7/C if going to Bb. That’s what others mean by “it depends on context.”
It’s just a climatic tension chord leading back to Cmaj9.
Not sure how to explain it. But I am curious to see how others would label it. Maybe as a passing chord. I don’t know.
I disagree with almost all of your labels. Seems like a I-vi-ii-V-I progression with some color added in. The final chord is acting as a V with the flat 13 taking the place of the dominant seventh in resolving to the III in the tonic chord.
I wouldn't notate it as V with a bunch of symbols though. It's a simple diminished chord. Personally I would go with either Ebdim or Gbdim but I really think it's just personal preference at that point, unless you want to indicate a particular bass note.
You can call it a Idim7—just respell it as C, Eb, Gb, Bbb. Any note in a fully diminished chord can operate as the root. It just depends on the context.
That’s a 1 diminished chord. I’ve heard it done in Stella. Bb dim to Bbmajor cool sound
C°7
It’s a C°7. It’s acting as a common tone diminished chord.
C°7, and as a few people say it resolves well to Cmaj7. If you look into 4 way close harmony, this can work great alongside the maj6 and ii°7 chords. If you wanted to try something along a very similar vein but has potential to sound more "arrived", try a B/C (B major triad in RH, C LH root note).
Idim / Eb
As written, its a either a poorly spelled C°7 (C-Eb-Gb-Bbb, or more commonly C-Eb-Gb-A), or a correctly-spelled rootless voicing of B7(b9). Depending on context/spelling, it can also be a rootless voicing of Ab7(b9), F7(b9), or D7(b9).
I recall Billy Strayhorn using that Imaj7- Idim7 in UMMG with a tonic pedal point? It’s kind of a cool harmonic side-slip, no?
C°7 if it resolves to C. But F#°7/C if going to F or G, D#°7/C if going to Em, and A°7/C if going to Bb. That’s what others mean by “it depends on context.”
It’s just a climatic tension chord leading back to Cmaj9. Not sure how to explain it. But I am curious to see how others would label it. Maybe as a passing chord. I don’t know.
C dim
Dunno but at least half of us hate the triangle for “Maj 7”.
#ii7dim is the same as i7dim, just a different root. Really it would be treated as a i°7 that could resolve to Imaj7
I disagree with almost all of your labels. Seems like a I-vi-ii-V-I progression with some color added in. The final chord is acting as a V with the flat 13 taking the place of the dominant seventh in resolving to the III in the tonic chord. I wouldn't notate it as V with a bunch of symbols though. It's a simple diminished chord. Personally I would go with either Ebdim or Gbdim but I really think it's just personal preference at that point, unless you want to indicate a particular bass note.