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This works because diminished seventh chords are structurally equivalent in all of their inversions (a stack of minor thirds), so any note in a diminished seventh chord can be seen as the root note. The most important irregular resolution is the deceptive cadence , [ 3 ] most commonly V 7 –vi in major or V 7 –VI in minor.
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, ♭ 3, ♭ 5, 7). For example, the diminished seventh chord built on B, commonly written as B o 7, has pitches B-D-F-A ♭:
The diminished triad can be used to substitute for the dominant seventh chord. In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the leading-tone triad.
This is an example of a suspended chord. In reference to chords and progressions for example, a phrase ending with the following cadence IV–V, a half cadence, does not have a high degree of resolution. However, if this cadence were changed to (IV–)V–I, an authentic cadence, it would resolve much more strongly by ending on the tonic I chord.
the chord quality (e.g. minor or lowercase m, or the symbols o or + for diminished and augmented chords, respectively; chord quality is usually omitted for major chords) whether the chord is a triad , seventh chord , or an extended chord (e.g. Δ 7 )
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 ...
In dominant function, the VII half diminished chord, like its fully diminished counterpart, can take the place of the dominant V chord at a point of cadential motion. This chord, sometimes called a leading-tone diminished seventh chord , is represented by the Roman numeral notation vii ø 7 , the root of which is the leading-tone to the tonic ...
However, a B diminished chord (B, D, F) may not be tonicized because "B diminished" could not be a stable key area; there is no key area in Western classical music that has B, D, & F—the pitches that make up the B diminished chord—as the first, third and fifth scale degrees, respectively. This holds true of all diminished and augmented chords.