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A diminished interval is an interval obtained from a minor interval or perfect interval by narrowing it by a chromatic semitone, meaning that the interval is narrowed by a semitone, but the staff positions are not changed (only an accidental is changed); the process may occasionally be referred to as diminution For example, a diminished sixth ...
However, in most popular-music chord books, the symbol "dim" or "o" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "o 7" symbols. For example, the diminished triad built on B, written as B o, has pitches B-D-F:
Diminished octave on C Play ⓘ. Diminished octave on C-sharp Play ⓘ. In music from Western culture, a diminished octave (Play ⓘ) is an interval produced by narrowing a perfect octave by a chromatic semitone. [1] As such, the two notes are denoted by the same letter but have different accidentals.
In modern Western tonal music theory, a diminished second is the interval produced by narrowing a minor second by one chromatic semitone. [1] In twelve-tone equal temperament, it is enharmonically equivalent to a perfect unison; [3] therefore, it is the interval between notes on two adjacent staff positions, or having adjacent note letters, altered in such a way that they have no pitch ...
The complementary interval to the diminished third is the augmented sixth, and the numerous chords of common practice music described as augmented sixth chords thereby contain the diminished third as well. For example, a German sixth chord E ♭-G-B ♭-C ♯-E ♭ ' exhibits a diminished third between C ♯ and E ♭ ' which complements the ...
The diminished seventh is used quite readily in the minor key, where it is present in the harmonic minor scale between the seventh scale step and the sixth scale step in the octave above. In 12-tone equal temperament , a diminished seventh is equal to nine semitones, a ratio of 2 9/12 :1 (approximately 1.6818), or 900 cents, and is ...
The diminished fifth is often called a tritone in modern tonal theory, but functionally and notationally it can only resolve inwards as a diminished fifth and is therefore not reckoned a tritone—that is, an interval composed of three adjacent whole tones—in mid-renaissance (early 16th-century) music theory. [19]
In jazz theory, it is called the diminished scale [8] or symmetric diminished scale [9] because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as a combination of two interlocking augmented triads.