Diminished triad

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"Diminished chord" redirects here. For the seventh chord, see Diminished seventh chord.
diminished triad
Component intervals from
chord symbols, it may be indicated by the symbols "dim", "o", "m♭5", or "MI(♭5)".[4] However, in most popular-music chord books, the symbol "dim" and "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 "o7" symbols.

For example, the diminished triad built on B, written as Bo, has pitches B-D-F:

{ \omit Score.TimeSignature \relative c' { <b d f>1 } }

The chord can be represented by the integer notation {0, 3, 6}.

In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone).

Harmonic function

{ #(set-global-staff-size 14) \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/2) \new PianoStaff << \new Staff << \relative c'' { \key g \major \time 24/16 g16 b d g d b d b g b g d e g c e c g c g e g e c a c fis a fis c fis c a c a fis g b d g d b d b g b g d } >> \new Staff << \relative c' { \clef F \key g \major \time 24/16 g8.[_\markup { \concat { "I" \hspace #20.5 "IV" \hspace #19.5 "vii" \raise #1 \small "o" \hspace #19.5 "I" } } g,] r g' g[ g,] r g' g[ g,] r g' g[ g,] r g' } >> >> }

In

dominant triad or dominant seventh, the leading-tone triad functions as a prolongational chord rather than a structural chord since the strong root motion by fifth is absent.[6]

On the other hand, in

natural minor scales, the diminished triad occurs on the second scale degree; in the key of C minor, this is the D diminished triad (D, F, A♭). 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, ♯viio. This is because the

ascending melodic minor scale
has a raised sixth and seventh degree. For example, the chord progression ♯viio–i is common.

The leading-tone diminished triad and supertonic diminished triad are usually found in

contrary motion.[8]

In popular music

Walter Everett writes that "In rock and pop music, the diminished triad nearly always appears on the second scale degree, forming a generally maudlin and dejected iio with its members, 2–4–♭6."[9] Songs that feature iio include Santo & Johnny's "Sleep Walk", Jay and the Americans' "Cara Mia", and the Hollies' "The Air That I Breathe".[9] Not so rare but rare enough so as to imply knowledge of and conscious avoidance on the part of rock musicians, examples of its use include Oasis' "Don't Look Back in Anger", David Bowie's "Space Oddity", and two in Daryl Hall's "Everytime You Go Away".[10]

The viio in major keys is relatively less common than the iio, but still does happen. It is almost always used to tonicize the relative minor, in progressions such as viio–V7/vi–vi, which resembles iio–V7–i in the relative minor.

Tuning

Comparison, in cents, of diminished triad tunings

In a

twelve-tone equal temperament, a diminished triad has three semitones
between the third and fifth, three semitones between the root and third, and six semitones between the root and fifth.

In

On the Sensations of Tone as a Physiological Basis for the Theory of Music.[12]

Play Perfectⓘ, Preferredⓘ (5-limit major), or 5-limit minorⓘ on C.

Sorge (perfect)/
7-limit 		Sorge (preferred)/
5-limit major 		5-limit minor
(D,F,A♭)
Harmonics
Root E 5 386.31 F♯+ 45 590.22 C♯ 135 92.18
Third G 6 701.96 A+ 54 905.87 E 160 386.31
Fifth B7♭ 7 968.83 C 64 1200 G 192 701.96
On B
Root B 15:8 1088.27 B 15:8 1088.27 B 15:8 1088.27
Third D 9:8 203.91 D 9:8 203.91 D- 10:9 182.40
Fifth F7+ 21:16 470.78 F 4:3 498.04 F 4:3 498.04
On C
Root C 1:1 0 C 1:1 0 C 1:1 0
Third E♭ 6:5 315.64 E♭ 6:5 315.64 E♭- 32:27 294.13
Fifth G7♭ 7:5 582.51 G♭- 64:45 609.78 G♭- 64:45 609.78

Diminished chord table

Chord Root Minor third Diminished fifth
Cdim C E♭ G♭
C♯dim C♯ E G
D♭dim D♭ F♭ (E) Adouble flat (G)
Ddim D F A♭
D♯dim D♯ F♯ A
E♭dim E♭ G♭ Bdouble flat (A)
Edim E G B♭
Fdim F A♭ C♭ (B)
F♯dim F♯ A C
G♭dim G♭ Bdouble flat (A) Ddouble flat (C)
Gdim G B♭ D♭
G♯dim G♯ B D
A♭dim A♭ C♭ (B) Edouble flat (D)
Adim A C E♭
A♯dim A♯ C♯ E
B♭dim B♭ D♭ F♭ (E)
Bdim B D F

See also

References

  1. ^
    ISBN 978-1-4510-1534-8
    .
  2. ISBN 978-0-306-80106-8
    .
  3. ISBN 978-0-07-294262-0
    .
  4. ^ Benward & Saker (2003), p.77.
  5. ISBN 0-582-28227-6
    .
  6. ^ a b Roig-Francolí 2011, p. 248.
  7. ^ Roig-Francolí 2011, p. 174.
  8. ^
    ISBN 978-0-07-310188-0
    .
  9. ^
    ISBN 978-0-19-531023-8
    .
  10. ISBN 978-0-300-09239-4
    .
  11. ISBN 978-0-945193-51-7
    .
  12. ^ Helmholtz, Hermann (1885). On the Sensations of Tone as a Physiological Basis for the Theory of Music. Longmans, Green. p. 344.{{cite book}}: CS1 maint: location missing publisher (link)

Sources

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