Search results
Results from the WOW.Com Content Network
This triad is consequently called the supertonic diminished triad. Like the supertonic minor triad found in a major key, the supertonic diminished triad has a predominant function, almost always resolving to a dominant functioning chord. [7] If the music is in a minor key, diminished triads can also be found on the raised seventh note, ♯ vii o.
dim for diminished; In addition, Δ is used for major seventh, [a] instead of the standard M, or maj; − is sometimes used for minor, instead of the standard m or min; a lowercase root note is sometimes used for minor, e.g. c instead of Cm + is used for augmented (A is not used) o is for diminished (d is not used) ø is used for half-diminished
Because any chord tone of the diminished seventh can be heard as the root, the tensions are not numbered as ninth, eleventh and so on. The usual notation is Cdim 7 or C ° 7, but some lead sheets or popular music books may omit the 7. Half-diminished seventh chord on C (Play ⓘ). A diminished triad with a minor seventh is a half-diminished ...
Diminished seventh chords may also be rooted on scale degrees other than the leading-tone, either as secondary function chords temporarily borrowed from other keys, or as appoggiatura chords: a chord rooted on the raised second scale degree (D ♯ –F ♯ –A–C in the key of C) acts as an appoggiatura to the tonic (C major) chord, and one ...
+ or aug indicates an augmented chord (A or a is not used). o or dim indicates a diminished chord, either a diminished triad or a diminished seventh chord (d is not used). ø indicates a half-diminished seventh chord. In some fake books, the abbreviation m 7(♭ 5) is used as an equivalent symbol. 2 is mostly used as an extra note in a chord (e ...
The half-diminished seventh chord is frequently used in passages that convey heightened emotion. For example, the "mournful affect" [5] of the sombre opening Chorus of J. S. Bach's St Matthew Passion (1727) features the chord on the seventh beat of its first bar and on the first beat of its third bar:
If it is major, the leading-tone chord may be either half-diminished or fully diminished, though fully diminished chords are used more often. [24] Because of their symmetry, secondary leading-tone diminished seventh chords are also useful for modulation; all four notes may be considered the root of any diminished
Only the intervals of a second, third, sixth, and seventh (and the compound intervals based on them) may be major or minor (or, rarely, diminished or augmented). Unisons, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a minor chord "sounds darker than a major ...