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A diminished triad with a minor seventh is a half-diminished chord, usually notated either Cm 7(♭ 5) or C ø7. A diminished triad played over a root a major third away creates a Dominant 7th chord, notated C 7, with a C Major triad on the bottom, and an E° from the chord third of C (C E G B ♭). A minor third below would give a fully ...
The leading-tone diminished triad and supertonic diminished triad are usually found in first inversion (vii o 6 and ii o 6, respectively) since the spelling of the chord forms a diminished fifth with the bass. [6] This differs from the fully diminished seventh chord, which commonly occurs in root position. [8]
The ♯ iv diminished chord is the sharpened subdominant with diminished seventh chord. For example: F ♯ –A–C–E ♭. The ♯ IV diminished chord resolves to the V. The ♯ IV can also be understood as the tonicization of V where it functions as vii o 7 of the V chord, written vii o 7/V.
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 ...
Chord qualities are related to the qualities of the component intervals that define the chord. The main chord qualities are: Major and minor; Augmented, diminished, and half-diminished; Dominant; Some of the symbols used for chord quality are similar to those used for interval quality: No symbol, or sometimes M or Maj for major; m, or min for minor
the fifth note the V major chord (or even a dominant 7th), the sixth note the vi minor chord, the seventh note the vii diminished chord and; the octave would be a I major chord. Using the minor (aeolian mode) one would have: i minor, ii diminished, (♭)III major, iv minor, v minor, (♭)VI major, (♭)VII major and; the i minor an octave ...
Borrowed chords are widely used in Western popular music and rock music. For example, there are a number of songs in E major which use the ♭ III chord (e.g., a G major chord used in an E major song), the ♭ VII chord (e.g., a D major chord used in an E major song) and the ♭ VI chord (e.g., a C major chord used in an E major song). All of ...
Any chord with the same root note and chord quality (major, minor, diminished) can be used as the pivot chord. Therefore, chords that are not generally found in the style of the piece (for example, major VII chords in a J. S. Bach -style chorale) are also not likely to be chosen as the pivot chord.