Try to also refer to them as "first degree, 2nd, 3rd." etc. Try to put all of them together in this key (C major) to hear how they work together. To help you put this into practice, in the fretboard diagrams is a common way to play all 7 chords on the guitar. A minor-seventh-flat-five chord can basically be played in root position and 3 inversions (Total of 4 positions): Root note at. The 4 notes in the Fm7b5 chord are: F A C E.
Once we have been through the process we are left with another formula to remember, which is as follows: The Fm7b5 chord is a 4-note-chord (a tetrad) A minor-seventh-flat-five chord consists of 4 notes: Root note, Minor third, Lowered (flat) fifth, Minor seventh. The F# is clearly not in the C major scale and therefore cannot be used. The half diminished chord can sound like a very dissonant chord, when played in isolation. It can be viewed as a Cm7 chord with a flat 5 or a C diminished chord with an added b7. The root note (green dot) names the key of chord. The Cm7b5 chord (C minor 7 flat 5, or C half diminished) contains the notes C, Eb, Gb and Bb, which is the 1 (root) b3, b5 and b7 of the C Major scale. On the other hand, D7 wouldn't work here because it has D, F#, A & C. Chord Patterns are moveable chords where fingerings dont change from key to key. Major scales, but also all Minor scales together with major and minor chords.
So, for example, when looking at D (The second degree of the scale) we know that a Dm fits in (using the notes D, F & G) and now we can use Dm7 as well because that has D, F, G & C in it, which are all notes from the C major scale. The process is the same, you create the chord using just the notes in the C major scale. Just as we did when we harmonised the key of C major to triads, we can now dot the same with 7th chords.
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