Wikipedia

Diminished seventh chord: Difference between revisions

Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
No edit summary
Tags: Mobile edit Mobile web edit
rv: changed to redirect to interval
 
(20 intermediate revisions by 10 users not shown)
Line 1:
{{Short description|Musical chord}}
{{distinguish|text=[[diminished triad]] or [[half-diminished seventh chord]] (the name 'diminished seventh' conventionally refers only to the 'fully diminished' version of the chord)}}{{Infobox chord|chord_name=diminished seventh|first_interval=[[root (chord)|root]]|second_interval=[[minor third]]|third_interval=[[diminished fifth]] ([[tritone]])|fourth_interval=[[diminished seventh]] ([[tritone]])|tuning=[[just intonation|125:150:180:216]]<ref>Shirlaw, Matthew (1900). ''The Theory of Harmony'', p. 86. {{ISBN|978-1-4510-1534-8}}. "G{{music|#}}–B–D–F."</ref>|forte_number=4–28|complement=8–28}}
 
The '''diminished seventh chord''' is a four-note chord (a [[seventh chord]]) composed of a [[Root (chord)|root note]], together with a [[minor third]], a [[diminished fifth]], and a [[diminished seventh]] above the root: (1,&nbsp;{{music|flat}}3,&nbsp;{{music|flat}}5,&nbsp;{{music|doubleflat}}7). For example, the diminished seventh chord built on CB, commonly [[Chord names and symbols (popular music)|written]] as CB{{music|dim}}<sup>7</sup>, has pitches C–EB-D-F-A{{music|flat}}–G{{music|flat}}–B{{music|doubleflat}} (A{{music|natural}}):
 
:<score sound="1">
{ \omit Score.TimeSignature \relative c' { <b d f aes>1 } }
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
\clef treble
\time 4/4
\key c \major
<c es ges beses>1
} }
</score>
 
As such, a diminished seventhThe chord comprisesconsists of a [[diminished triad]] plus athe diminished seventh. Becauseabove ofthe this,root. itThese canfour alsonotes beform vieweda asstack fourof notesthree all[[Interval stacked(music)|interval]]s inwhich intervalsare of aall [[minor third]]s. andSince canstacking beyet representedanother byminor third returns to the root note, the four [[Inversion (music)|inversion]]s of a diminished seventh chord are symmetrical. The [[Pitch class#Integer notation|integer notation]] is {0,&nbsp;3,&nbsp;6,&nbsp;9}.
 
Since athe diminished seventh interval is [[enharmonically equivalent]] to a [[major sixth]], the chord is enharmonically equivalent to (1,&nbsp;{{music|flat}}3,&nbsp;{{music|flat}}5,&nbsp;{{music|natural}}6).
 
The diminished seventh chord occurs as a [[leading-tone seventh chord]] in the [[harmonic minor scale]]. It typically has [[dominant function]] and contains two diminished fifths, which often resolve inwards.<ref>Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 219. Seventh Edition. {{ISBN|978-0-07-294262-0}}.</ref>
 
In most sheet music books, the notation Cdim or C{{music|dim}}The [[Chord notation#Seventh chords|denoteschord notation]] afor the diminished seventh chord with(assuming root C;) but it may also happen, mostly in modern jazz books and some music theory literature, thatis Cdim<sup>7</sup> or C{{music|dim}} denotes a [[diminished triad]]<sup>7</sup> (more commonly denotedor Cm<sup>6{{music|flat}}5</sup> for the enharmonic variant),. whileThe notation Cdim<sup>7</sup> or C{{music|dim}}<sup>7</sup> innormally denotes a (three-note) diminished triad, but some jazz charts or other music literature may intend for these booksto denotesdenote athe four-note diminished seventh chord (corresponding to Cm<sup>6{{music|flat}}5</sup>)instead.
 
[[François-Joseph Fétis]] tuned the chord 10:12:14:17 ([[17-limit tuning]]).<ref>[[François-Joseph Fétis|Fétis, François-Joseph]] and Arlin, Mary I. (1994). ''Esquisse de l'histoire de l'harmonie'', p. 139n9. {{ISBN|978-0-945193-51-7}}.</ref>
Line 33 ⟶ 26:
 
:<score sound="1"> {
\overrideomit Score.TimeSignature \relative c'' {
#'stencil = ##f
\relative c'' {
\time 4/4 \key c \minor
<\parenthesize g b d f aes>1 \bar "||"
}
Line 47 ⟶ 37:
 
:<score sound="1"> {
\overrideomit Score.TimeSignature \relative c'' {
#'stencil = ##f
\relative c'' {
\time 4/4 \key c \major
<g b d f>1 <aes b d f> \bar "||"
}
Line 64 ⟶ 51:
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key c \minor \time 4/4
aes1 g
}
Line 74 ⟶ 61:
\new Staff <<
\new Voice \relative c {
\stemUp \clef bassF \key c \minor \time 4/4
f1 es
}
Line 89 ⟶ 76:
 
:<score sound="1"> {
\overrideomit Score.TimeSignature
#'stencil = ##f
\relative c'' {
\time 4/4
<g b d f>1 <b d f aes> \bar "||"
}
Line 110 ⟶ 95:
\new Staff <<
\new Voice \relative c'' {
\stemUp \clef treble \key c \major \time 4/4
f2 es d1 c
}
Line 120 ⟶ 105:
\new Staff <<
\new Voice \relative c {
\clef bass \key c \major \time 4/4F
f2 fis g1 c \bar "||"
}
Line 137 ⟶ 122:
\new Staff <<
\new Voice \relative c' {
\stemUp \clef "treble_8G_8" \key bes \major \time 3/4
es4 es2 cis2 cis4 d2 d4 es2 r4
}
Line 148 ⟶ 133:
\new Staff <<
\new Voice \relative c' {
\stemUp \clef bassF \key bes \major \time 3/4
g4 g2 g2 bes4 bes2 aes4 a!2 r4
}
Line 165 ⟶ 150:
\relative c' {
\tempo "Tempo di Valse"
\clef treble \key d \major \time 3/4
\override DynamicText.X-offset = #-4
\once \override DynamicLineSpanner.staff-padding = #3
Line 173 ⟶ 158:
\new Staff <<
\new Voice \relative c {
\clef bassF \key d \major \time 3/4
<a e' a cis>4--_\markup { \concat { "V" \hspace #10 "♯vi" \raise #1 \small "o" \combine \raise #1 \small 4 \lower #1 \small 2 \hspace #1 "V" } } <a e' a cis>-- <a e' a cis>-- <a dis a' bis>2-> <a e' a cis>4-- <a e' a cis>2.~ <a e' a cis>8 r r4 r
}
Line 183 ⟶ 168:
:<score sound="1">
{
\overrideomit Score.TimeSignature
#'stencil = ##f
\time 4/4
\relative c' {
<dis a' c fis>1_\markup { \concat { "♯ii" \raise #1 \small "o7" \hspace #4 "I" \raise #1 \small "6" } } <e g c g'> \bar "||"
Line 202 ⟶ 185:
{
\set Score.proportionalNotationDuration = #(ly:make-moment 1/4)
\overrideomit Score.TimeSignature
#'stencil = ##f
\time 4/4
\key d \major
\relative c'' {
Line 219 ⟶ 200:
\new Staff <<
\set Staff.midiInstrument = #"voice oohs"
\clef treble \key d \minor \time 4/4
\relative c' {
\set Score.tempoHideNote = ##t \tempo 8 = 120
\clef treble \key c \major \time 2/4
<fis a c fis>8.^\markup { "Choir" } <fis a c fis>16 <fis a c fis>4
}
\addlyrics { Ba -- rab -- bam! }
Line 229 ⟶ 210:
\new Staff <<
\set Staff.midiInstrument = #"church organ"
\clef bassF \key d \minor \time 2/4
\new Voice \relative c {
<dis dis'>8. <dis dis'>16 <dis dis'>4
Line 247 ⟶ 228:
\set Score.tempoHideNote = ##t \tempo 4 = 86
\set Staff.midiInstrument = #"trombone"
\clef bassF \key d \minor \time 4/4
R1 R1 R1 r2 a4.^\markup { "COMMENDATORE }" a8 d2 d, r4 d f d a'2 a
}
\addlyrics { Don Gio -- van -- ni! A ce -- nar te -- co }
Line 255 ⟶ 236:
\new Staff <<
\set Staff.midiInstrument = #"string ensemble 1"
\clef treble \key d \minor \time 4/4
\relative c'' {
\override DynamicLineSpanner.staff-padding = #3
Line 262 ⟶ 243:
>>
\new Staff <<
\clef bassF \key d \minor \time 4/4
\relative c, {
<b b'>2 <b b'> <b b'> r <cis cis'> <cis cis'> <cis cis'> r d'4. d8 d4. d8 d4. d8 d4. d8 c4. c8 c4. c8
Line 279 ⟶ 260:
\new Staff <<
\tempo "Mässig geschwind"
\clef treble \key c \minor \time 3/4
\set Score.currentBarNumber = #35
\bar ""
Line 285 ⟶ 266:
R2.
R
\tuplet 9/8 { a32([ c es fis a fis es c a)] } <c, es fis a>8->([ a16)] r \clef bass <c, es fis a>8->([ a16)] r \clef trebleG
\tuplet 9/8 { a''32([ c es fis a fis es c a)] } <c, es fis a>8->([ a16)] r \clef bassF <c, es fis a>8->([ a16)] r \clef trebleG
\tuplet 9/8 { a''32([ c es fis a fis es c a)] } <c, es fis a>8->([ a16)] r \clef bassF <c, es fis a>8->([ a16)] r
R2.\fermata
}
>>
\new Staff <<
\clef bassF \key c \minor \time 3/4
\relative c, {
c32^\markup {\dynamic pp \italic "con pedale" } c' c, c' c, c' c, c' c,8 r c r
Line 314 ⟶ 295:
\new PianoStaff <<
\new Staff <<
\clef treble \key des \major \time 2/4
\relative c'' {
<ges bes es>4(_\markup { \dynamic p \italic dim. } <es aes>)
Line 322 ⟶ 303:
>>
\new Staff <<
\clef bassF \key des \major \time 2/4
\relative c' {
<ges bes>4( <aes c>)
Line 332 ⟶ 313:
</score>
 
The final movement of [[Hector Berlioz]]'s ''[[Symphonie Fantastique]]'' reflects the influence of Weber <ref>Hovland, E. (2019, p. 20) "Who's afraid of Berlioz?" ''Studia Musicologica Norvegica'', vol 45, no. 1, pp. 9–30.</ref> in its copious use of diminished seventh chords to evoke the spooky atmosphere of a Witch's Sabbath: "a sinister gathering of spectres, monsters and weird, infernal mocking creatures":<ref>[[Hugh Macdonald (musicologist)|Macdonald, H.]] (1969, p. 37) ''Berlioz Orchestral Music''. London, BBC.</ref>
[[File:Berlioz Symphonie Fantastique finale, bars 1-4 01.wav|thumb|Berlioz's ''Symphonie Fantastique'' finale, bars 1–4]]
[[File:Berlioz Symphonie Fantastique finale, bars 1-4 02.png|thumb|center|500px|Berlioz's ''Symphonie Fantastique'' finale, bars 1-4]]
Line 342 ⟶ 323:
==Symmetry==
 
{{Image frame|content=<score lang="lilypond">
{
\overrideomit Score.TimeSignature
#'stencil = ##f
\relative c'' {
\time 4/4
<gis b d f>1 <aes b d f> <aes ces d f> <aes ces eses f> \bar "||"
}
}
</score>|width=320|caption=The same four pitch classes spelled as four different diminished seventh chords: G{{music|sharp}}dim<sup>7</sup>, Bdim<sup>7</sup>, Ddim<sup>7</sup>, and Fdim<sup>7</sup>.}}Because a diminished seventh chord is composed of three stacked [[Minor third|minor thirds]] which evenly divide the chromatic scale, it is symmetrical and its four [[Chord inversion|inversions]] are composed of the same [[Pitch class|pitch classes]]. Understanding what inversion a given diminished seventh chord is written in (and thus finding its [[Root (chord)|root]]) depends on its [[enharmonic spelling]]. For example, G{{music|sharp}}dim<sup>7</sup> (G{{music|sharp}}–B–D–F) is [[enharmonically equivalent]] to three other inverted diminished chords with roots on the other three pitches in the chord:
 
# Bdim<sup>7</sup> (A{{music|b}}–B–D–F)
Line 361 ⟶ 340:
{{Image frame|content=<score sound="1">
{
\overrideomit Score.TimeSignature #'stencil = ##f
\relative c' {
<cis e g bes c es fis a>1▼
\clef treble \key c \major
▲ <cis e g bes c es fis a>1
} }
</score>
Line 370 ⟶ 348:
<score sound="1">
{
\overrideomit Score.TimeSignature #'stencil = ##f
\relative c' {
\clef treble \key c \major
\once \override NoteHead.color = #red des8 \once \override NoteHead.color = #blue es \once \override NoteHead.color = #red e! \once \override NoteHead.color = #blue fis \once \override NoteHead.color = #red g \once \override NoteHead.color = #blue a \once \override NoteHead.color = #red bes \once \override NoteHead.color = #blue c
} }
</score>|width=300|caption=Two diminished seventh chords in the octatonic scale (one red, one blue) may be rearranged as the alpha chord}}
 
As a result ofGiven the symmetry of the chord, if(and you ignoreignoring enharmonic spelling), it follows that there are only three distinct diminished seventh chords, the(as otheropposed nineto beingtwelve), enharmonicallyeach equivalenta toconflation thoseof threefour enharmonic equivalents. Using [[Walter Piston|Piston]]'s incomplete-ninth analysis discussed above, a single diminished seventh chord, without enharmonic change, is capable of the following analyses: V, [[Secondary dominant|V/ii]], V/III (in minor), V/iii (in major), V/iv, V/V, V/VI (in minor), V/vi (in major), V/VII (in minor). Since the chord may be enharmonically written in four different ways without changing the sound, wethe mayabove multiplycan thebe abovemultiplied by four, makingyielding a total of forty-eight possible interpretations.<ref>{{Cite book|url=https://archive.org/details/harmony3rdpist/page/201|title=Harmony|last=Piston|first=Walter|author-link=Walter Piston|publisher=W. W. Norton|year=1962|isbn=0393097374|edition=3rd|location=New York|page=[https://archive.org/details/harmony3rdpist/page/201 201]|oclc=2082824|url-access=registration}}</ref> More conservatively, each assumed root may be used as a [[dominant (music)|dominant]], [[tonic (music)|tonic]], or [[supertonic]], giving twelve possibilities.<ref name="Wodehouse">Adela Harriet Sophia Bagot Wodehouse (1890). ''A Dictionary of Music and Musicians: (A.D. 1450–1889)'', p. 448. Macmillan and Co., Ltd.</ref>
 
The [[octatonic scale]] (or diminished scale), a [[symmetric scale]], may be conceived of as two interlocking diminished seventh chords, which may be rearranged into the [[alpha chord]].
Retrieved from "https://en.wikipedia.org/wiki/Diminished_seventh_chord"