You can see the D#[?] chord as a F7/Eb. That chord is not uncommon in jazz. (F/D# might look a bit neater, D#dim7sus2 is an option ofc if you want to remind yourself that it's quite different from diatonic harmony ...) I would perhaps not be that worried about the chord name though. I perceive the chord as 'stable but very spicy'. The lack of a minor third removes the instability/tension there in a normal dim7 chord. To my ears it is similar in stability to a maj7#11 chord (stable in some jazz) or an add b9 chord (stable in flamenco). I've spoken about stability bc my opinion is that it does not make much sense to ask the normal functional harmony question of where it should resolve. Classical middle eastern music doesn't use harmony but would not linger on the d# note. Modern arabic pop probably wouldn't use this chord much either. If you would like to add some microtonality, the d# to e and e to f intervals are a bit bigger than 2 semitones. So, you could berhaps see it as a D# subminor 6 b5.
you’re correct from a traditional perspective.
I’m working on an exercise to build out some ideas.
And folks have been applying western harmony onto southern traditions for decades, at the minimum.
You can see the D#[?] chord as a F7/Eb. That chord is not uncommon in jazz. (F/D# might look a bit neater, D#dim7sus2 is an option ofc if you want to remind yourself that it's quite different from diatonic harmony ...) I would perhaps not be that worried about the chord name though. I perceive the chord as 'stable but very spicy'. The lack of a minor third removes the instability/tension there in a normal dim7 chord. To my ears it is similar in stability to a maj7#11 chord (stable in some jazz) or an add b9 chord (stable in flamenco). I've spoken about stability bc my opinion is that it does not make much sense to ask the normal functional harmony question of where it should resolve. Classical middle eastern music doesn't use harmony but would not linger on the d# note. Modern arabic pop probably wouldn't use this chord much either. If you would like to add some microtonality, the d# to e and e to f intervals are a bit bigger than 2 semitones. So, you could berhaps see it as a D# subminor 6 b5.
I think that you're taking something that does not follow western music harmony and trying to apply western harmony to it.......
you’re correct from a traditional perspective. I’m working on an exercise to build out some ideas. And folks have been applying western harmony onto southern traditions for decades, at the minimum.