1093:
916:
1046:
550:
513:
351:
308:
589:
232:
427:
396:
478:
2959:
814:
1974:
1866:
1855:
1764:
1747:
1736:
1638:
1531:
1432:
1421:
1410:
657:
Despite the appearance of the word "diminished" in the name of this type of seventh chord, its sound differs considerably from that of a diminished seventh chord. In fact, the only sonic connection between the two chords is the single diminished triad found in the half-diminished seventh chord. As
644:
The terms and symbols for this chord break expectations that derive from the usual system of chord nomenclature. Normally a symbol like "Bdim" indicates a diminished triad and "B" indicates a major triad plus a minor seventh. Thus, one would expect the term "Bdim" to indicate a
539:
498:
293:
538:
497:
578:
221:
600:
writes, "The half-diminished seventh chord is in many respects the star of the seventh chord harmonic cast. Many songs in the classic
American popular song repertoire reserve it for their most intensely expressive moments." Forte cites as a particular example
292:
220:
577:
416:
385:
540:
499:
463:
415:
384:
294:
462:
579:
222:
653:. To make this distinction clear, the term "half-diminished" and the symbol (ø) were invented. Since the term dim (as in Bdim) meant something else, the accurate but unwieldy term "minor seventh flat five" (as in B) came to be used.
184:
417:
386:
464:
365:
In contrast, however, one of the most striking and best known examples of a half diminished seventh can be found in a piece that expresses joyful celebration, namely the chord that follows the fanfare at the start of the
1122:
context, i.e., as part of a progression where the chord performs the dominant function with respect to the overall key's dominant chord. In this scenario, the half-diminished seventh chord is built on the
1239:(sharpened fourth). That root also serves as the leading tone to the dominant when used in the vii/V function described above; such a function is the diminished, secondary-dominant equivalent of a
454:
that conveys how its hero develops as the story progresses. In the first Act, the music portrays
Parsifal as vigorous, youthful and naïve. His leitmotif consists almost entirely of
641:
as a circle with a diagonal line through it, as in B or simply B. It also can be represented as a minor seventh chord with a superscript "" (sometimes enclosed in parentheses).
1127:
of the overall key and is equivalent to a secondary dominant seventh chord with added ninth and omitted root. If written with respect to the overall key, this chord is styled "
489:"As the hero grows in wisdom, so his music develops." When Parsifal re-appears in the final act, set many years later, half-diminished chords permeate the leitmotif. The
541:
500:
295:
580:
223:
403:
An instance of the power latent in this "quintessentially dramatic chord" can be found in the "shriek of despair" that launches the "torrent of fury" that is
418:
569:
of the half-diminished chord at the start appropriately conveys a dark, brooding character. A striking phrase on the tenor horn unfolds the chord as an
387:
465:
1023:
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
1092:
831:
898:
motion, there is only a one-note difference between a half-diminished seventh chord and a V chord with a flat ninth. Since it is built on the
788:" is sometimes described as a half-diminished seventh chord; however, the term "Tristan chord" is typically reserved for a very specific
375:
1020:
dim – Dm – G – CM. If analyzed in its predominant function, it wouldn't sufficiently explain how it functions preceding the Fm chord.
3197:
1110:
176:
610:
1096:
2863:
2254:
274:
The half-diminished seventh chord is frequently used in passages that convey heightened emotion. For example, the "mournful
2375:
1049:
919:
187:
662:
has astutely pointed out, the "half-diminished" seventh chord should be called the "one-third" diminished seventh chord.
345:
from
Michael Haydn's Missa Sancti Nicolai Tolentini, MH 109 performed by Le Choeur de Filles de la Maîtrise de Bordeaux
2763:
2476:
2230:
2209:
853:
669:
musicians typically consider the half-diminished chord (more commonly known as the minor seventh flat five chord, m7
2680:
2590:
1229:
The sharpened subdominant diminished triad with minor seventh chord is represented with the Roman numeral notation
941:
38:
957:
2695:
2499:
2423:
2399:
2275:
910:(such as in the progression D – G – Cm), but there are also instances where there is a major tonic resolution.
835:
737:
9, play down the B♭7 scale from its seventh to B" (B being the added half-step "bebop note" and third of the G7
526:
1075:
diminished if played within the scale. Indeed, the VII half diminished chord in a major key is identical to a
3106:
2705:
971:
Diminished chord function is rarer but still exists. Half-diminished chords can function in the same way as
1333:
2934:
1045:
915:
725:) scale with an added half-step to keep all the chord tones on the beat. For example, for the chords "Dm7
367:
183:
2197:
903:
342:
288:(1727) features the chord on the seventh beat of its first bar and on the first beat of its third bar:
275:
255:
2660:
1099:
1029:
894:, where it takes a predominant function, leading naturally to the dominant V chord. Not including the
2720:
2700:
789:
609:". Other examples in the popular song repertoire that use the half-diminished seventh chord include "
2685:
2169:
972:
650:
31:
17:
1141:
A variant of the supertonic seventh chord (ii) is the supertonic half-diminished seventh with the
549:
3228:
2710:
1052:
922:
824:
774:
562:
190:
3080:
2977:
2725:
2675:
1152:
1133:
iv," but in terms of its function in the progression, the styling "vii/V" is more descriptive.
1080:
1034:
988:
899:
622:
596:
In his book celebrating popular songs of the first half of the twentieth century, musicologist
408:
638:
2878:
2833:
2807:
2715:
1344:
1261:
3101:
3085:
2919:
2583:
1340:
1240:
1076:
1005:
710:
512:
202:
8:
2670:
2665:
1336:
chord. Like the typical augmented sixth chord, this enharmonic interpretation gives on a
1068:
797:
263:
350:
336:
3156:
3121:
3075:
2562:
2292:
The Oxford
History of Western Music: Music in the Seventeenth and Eighteenth Centuries.
1337:
1119:
440:
284:
106:
2349:
307:
231:
3047:
2968:
2903:
2495:
2472:
2419:
2395:
2271:
2250:
2226:
2205:
2465:
Harmonic
Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression
588:
3116:
3052:
3005:
2790:
2637:
2468:
2332:
2287:
884:
872:
691:
646:
566:
444:(1859) is the best known and most-discussed example.) However, in his final opera
3067:
2939:
2883:
2843:
2817:
2758:
2642:
2632:
2576:
1973:
1865:
1854:
1763:
1746:
1735:
1637:
1530:
1431:
1420:
1409:
1293:
1024:
965:
961:
606:
602:
93:
426:
3207:
3202:
3042:
3037:
2944:
2748:
2735:
2164:
1260:
The half-diminished seventh chord may also be enharmonically interpreted as an
1118:
The dominant function of the half-diminished seventh chord may also occur in a
659:
395:
86:
3222:
3111:
3057:
3029:
2985:
2958:
2898:
2893:
2853:
2652:
2614:
2599:
2461:
2303:
2179:
1265:
991:
907:
793:
785:
558:
477:
435:
324:
266:(e.g., D in C minor). It has been described as a "considerable instability".
209:
154:
138:
57:
777:
and is the only scale that keeps all the chord tones on the beat across the
3161:
3015:
2888:
2873:
2858:
2838:
2812:
2779:
1348:
1038:
895:
718:
684:
680:
247:
142:
122:
101:
79:
50:
994:
preceding a chord with a diatonic root. A typical example of this is when
694:—this scale is nearly identical to the Locrian mode, except that it has a
434:
Wagner frequently used the chord for dramatic and expressive effect. (The
3176:
3171:
3146:
3141:
3000:
2868:
2848:
2802:
2743:
2627:
2622:
2487:
2411:
2387:
1244:
1236:
1142:
1084:
1001:
964:) for the first beat of the second measure, then to the dominant (a V in
876:
721:
explained that bebop musicians would play a descending dominant seventh (
614:
597:
531:
371:
251:
213:
146:
72:
2378:
Programme notes for the Oregon
Symphony Orchestra. Accessed 20 July 2020
175:
7). For example, the half-diminished seventh chord built on B, commonly
3166:
3010:
2990:
2753:
937:
891:
880:
838: in this section. Unsourced material may be challenged and removed.
722:
279:
259:
534:
follows a minor chord with a half-diminished chord to striking effect:
212:
and in three inversions. The first inversion is enharmonic to a minor
3151:
2774:
1064:
953:
490:
451:
2337:
The Oxford
History of Western Music: Music in the Nineteenth Century
813:
246:, the half-diminished seventh chord occurs naturally on the seventh
3192:
3019:
2924:
2174:
1041:
to the tonic. In the key of C, this is chord is B, as shown below.
949:
933:
618:
570:
455:
446:
240:
450:(1882), the composer used the half-diminished seventh to colour a
2995:
2929:
1248:
1156:
1124:
626:
617:, where the opening phrase of the melody unfolds the chord as an
243:
150:
64:
2550:, vol. 2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.
960:, the tonic in the first measure progresses to the ii chord (in
890:
The vast majority of its occurrences are on the II chord in the
565:" (1905) as a tragic night without stars or moonlight." The low
1356:
1352:
404:
262:. Similarly, the chord also occurs on the second degree of any
493:
harmony here conveys "a deeply sad and resigned impression"
666:
2568:
1109:
Secondary leading-tone half-diminished chord in Brahms's
1098:
Audio playback is not supported in your browser. You can
1051:
Audio playback is not supported in your browser. You can
921:
Audio playback is not supported in your browser. You can
189:
Audio playback is not supported in your browser. You can
1362:
1268:
interval (between root and seventh degree, i.e.: { C B
1343:
for the half-diminished seventh but regular for the
968:), and then back to the tonic in the third measure.
1067:, since the flattening of the sixth degree in the
902:II chord of the minor scale, most of the time the
706:2, giving it a somewhat more consonant quality; or
987:dim – Dm, where the diminished chord serves as a
743:9 chord). This works because the notes of the Dm7
3220:
632:
524:In the opening section of his Fantasy-Overture,
975:chords, such as in the chord progression CM – C
948:For example, over the first three bars of the
675:5) as built from one of the following scales:
2584:
2350:"Guide to the Thematic Material of Parsifal".
2490:; Lalli, Richard; and Chapman, Gary (2001).
2414:; Lalli, Richard; and Chapman, Gary (2001).
2390:; Lalli, Richard; and Chapman, Gary (2001).
1071:renders a dominant diminished seventh chord
871:The half-diminished seventh chord has three
208:The half-diminished seventh chord exists in
2505:
2492:Listening to Classic American Popular Songs
2416:Listening to Classic American Popular Songs
2392:Listening to Classic American Popular Songs
2268:Tonality and Design in Music Theory, Vol. I
2591:
2577:
651:diminished triad plus a diminished seventh
649:plus a minor seventh. Instead, it means a
254:(for example, B in C major) and is thus a
2241:
2239:
1347:, where the two voices at the enharmonic
1235:iv; the root of this chord is the raised
854:Learn how and when to remove this message
553:Tchaikovsky Romeo & Juliet bars 28-33
545:Tchaikovsky Romeo & Juliet bars 28-33
2435:"From this Moment On" (1977, p. 123) in
2266:Henry, Earl and Rogers, Michael (2004).
866:
796:and sometimes even the way the chord is
773:C }. This scale is sometimes called the
587:
575:
548:
536:
511:
495:
476:
460:
425:
413:
394:
382:
349:
306:
290:
230:
218:
2563:Improvising over half-diminished chords
1292:} ) is enharmonically equivalent to an
1027:motion. This chord, sometimes called a
269:
179:as Bm7(♭5), or B, has pitches B-D-F-A:
14:
3221:
2236:
2572:
2247:Music: In Theory and Practice, Vol. I
1030:leading-tone diminished seventh chord
1000:IV progresses to IVm, such as in the
2520:Ouseley, Frederick. A. Gore (1868).
2202:Esquisse de l'histoire de l'harmonie
836:adding citations to reliable sources
807:
2524:, pg. 137, Oxford, Clarendon Press.
2511:Benward & Saker (2003), p. 276.
1363:Half-diminished seventh chord table
1008:", where there is the progression F
637:Half-diminished seventh chords are
24:
1332:}, a virtual minor version of the
1251:, the chord playing this role is F
1136:
278:" of the sombre opening Chorus of
25:
3240:
2556:
605:'s use of the chord in his song "
2957:
2548:Materials and Structure of Music
2537:, pg. 138ff, Boston, B. F. Wood.
2448:"Because" (1989, p. 106, bar 3)
2361:Bauer, H. J. (1978, pp. 45-49),
2319:Walker, A. (2018, pp. 187–188),
1972:
1864:
1853:
1762:
1745:
1734:
1636:
1529:
1430:
1419:
1408:
932:The first three measures of the
812:
561:saw the opening movement of his
235:Half-diminished chord inversions
227:Half-diminished chord inversions
39:Dominant seventh flat five chord
2540:
2527:
2514:
2481:
2455:
2442:
2429:
2405:
2381:
2368:
2365:: Musikverlag Emil Katzbichler.
2355:
958:Violin Partita No. 2 in D minor
942:Violin Partita No. 2 in D minor
823:needs additional citations for
792:, especially determined by the
692:mode of the melodic minor scale
592:Mahler, Symphony No. 7, opening
584:Mahler, Symphony No. 7, opening
2342:
2326:
2313:
2297:
2281:
2260:
2215:
2191:
1037:vii, the root of which is the
430:Chopin, Scherzo No. 1 bars 1–8
422:Chopin, Scherzo No. 1 bars 1–8
359:Missa Sancti Nicolai Tolentini
329:Missa Sancti Nicolai Tolentini
13:
1:
2185:
1314:}. Transposing this gives { A
879:(also called "subdominant"),
755:C } are also chord tones of B
633:Chord symbols and terminology
201:It can be represented by the
135:minor seventh flat five chord
127:half-diminished seventh chord
44:half-diminished seventh chord
2376:"Mahler's Seventh Symphony."
2245:Benward & Saker (2003).
1095:
1048:
918:
906:pattern resolves to a minor
186:
7:
2450:The Beatles Complete Scores
2200:and Arlin, Mary I. (1994).
2158:
1063:This generally occurs in a
803:
10:
3245:
2681:Dominant seventh flat five
2598:
2535:Harmony: A Course of Study
399:Mendelssohn, Wedding March
391:Mendelssohn, Wedding March
256:leading-tone seventh chord
36:
29:
3185:
3134:
3094:
3066:
3028:
2976:
2966:
2955:
2912:
2826:
2788:
2734:
2651:
2613:
2606:
2221:Shirlaw, Matthew (2012).
1153:enharmonically equivalent
1087:) with its root omitted.
875:in contemporary harmony:
377:A Midsummer Night's Dream
112:
100:
92:
85:
78:
71:
63:
56:
49:Component intervals from
48:
2546:Christ, William (1966).
2533:Chadwick, G. W. (1922).
2339:Oxford University Press.
2321:Chopin, a Life and Times
2294:Oxford University Press.
2170:Diminished seventh chord
1033:, is represented by the
32:Diminished seventh chord
30:Not to be confused with
3198:Chord names and symbols
2437:The Best of Cole Porter
1100:download the audio file
1053:download the audio file
923:download the audio file
775:Phrygian dominant scale
709:the second mode of the
374:'s incidental music to
191:download the audio file
3081:Secondary leading-tone
2198:Fétis, François-Joseph
1334:French augmented sixth
1243:. For example, in the
1035:Roman numeral notation
664:
593:
585:
554:
546:
521:
509:
486:
474:
431:
423:
400:
392:
362:
347:
316:
304:
236:
228:
2522:A Treatise on Harmony
2467:(1997), pp. 371-372,
2352:Accessed 8 June 2020.
2223:The Theory of Harmony
1345:augmented sixth chord
1262:augmented sixth chord
867:Most common functions
687:) of the major scale;
655:
591:
583:
552:
544:
515:
503:
480:
468:
429:
421:
398:
390:
357:from Michael Haydn's
353:
334:
310:
298:
234:
226:
131:half-diminished chord
3086:Secondary supertonic
2374:Schwartz, E. (2018)
2335:(2020, pp. 540–541)
1241:backdoor progression
1077:dominant ninth chord
832:improve this article
711:harmonic minor scale
270:Expressive potential
2439:. London, Chappell.
2348:Everett, D. (1996)
2310:London, Bloomsbury.
1111:Intermezzo, Op. 119
1069:natural minor scale
981:dim – Dm, or Em – E
611:From This Moment On
573:in the second bar.
264:natural minor scale
45:
3157:Chord-scale system
3076:Secondary dominant
1120:secondary dominant
658:composer-theorist
594:
586:
555:
547:
522:
510:
487:
475:
441:Tristan und Isolde
432:
424:
401:
393:
363:
317:
313:St Matthew Passion
305:
301:St Matthew Passion
285:St Matthew Passion
237:
229:
145:, together with a
43:
27:Music theory chord
3216:
3215:
3130:
3129:
3048:Chromatic mediant
2953:
2952:
2904:Viennese trichord
2363:Wagner's Parsifal
2255:978-0-07-294262-0
2154:
2153:
1381:Diminished fifth
1143:raised supertonic
1104:
1057:
927:
864:
863:
856:
790:harmonic function
581:
542:
501:
466:
419:
388:
355:Et incarnatus est
338:Et incarnatus est
319:Similarly in the
296:
224:
195:
129:(also known as a
119:
118:
16:(Redirected from
3236:
2974:
2973:
2961:
2769:
2768:
2726:Harmonic seventh
2696:Diminished major
2611:
2610:
2593:
2586:
2579:
2570:
2569:
2551:
2544:
2538:
2531:
2525:
2518:
2512:
2509:
2503:
2485:
2479:
2469:Inner Traditions
2459:
2453:
2446:
2440:
2433:
2427:
2409:
2403:
2385:
2379:
2372:
2366:
2359:
2353:
2346:
2340:
2330:
2324:
2323:. London, Faber.
2317:
2311:
2301:
2295:
2290:(2010, p. 378),
2285:
2279:
2264:
2258:
2243:
2234:
2219:
2213:
2195:
2150:
2149:
2142:
2141:
2134:
2133:
2126:
2125:
2117:
2116:
2090:
2089:
2081:
2080:
2073:
2072:
2065:
2064:
2056:
2055:
2046:
2045:
2035:
2034:
2027:
2026:
2018:
2017:
2005:
2004:
1986:
1985:
1977:
1976:
1966:
1965:
1958:
1957:
1949:
1948:
1939:
1938:
1925:
1924:
1916:
1915:
1903:
1902:
1895:
1894:
1878:
1877:
1869:
1868:
1858:
1857:
1848:
1847:
1839:
1838:
1820:
1819:
1811:
1810:
1801:
1800:
1792:
1791:
1784:
1783:
1767:
1766:
1756:
1755:
1750:
1749:
1739:
1738:
1729:
1728:
1720:
1719:
1710:
1709:
1699:
1698:
1691:
1690:
1682:
1681:
1669:
1668:
1650:
1649:
1641:
1640:
1631:
1630:
1623:
1622:
1614:
1613:
1604:
1603:
1593:
1592:
1585:
1584:
1576:
1575:
1563:
1562:
1543:
1542:
1534:
1533:
1523:
1522:
1515:
1514:
1506:
1505:
1487:
1486:
1478:
1477:
1468:
1467:
1460:
1459:
1452:
1451:
1435:
1434:
1424:
1423:
1413:
1412:
1403:
1402:
1394:
1393:
1369:
1368:
1331:
1330:
1325:
1324:
1319:
1318:
1313:
1312:
1307:
1306:
1301:
1300:
1291:
1290:
1285:
1284:
1279:
1278:
1273:
1272:
1256:
1255:
1234:
1233:
1224:
1223:
1218:
1217:
1210:
1209:
1204:
1203:
1198:
1197:
1192:
1191:
1186:
1185:
1180:
1179:
1170:
1169:
1164:
1163:
1150:
1149:
1132:
1131:
1081:dominant seventh
1019:
1018:
1013:
1012:
999:
998:
986:
985:
980:
979:
973:fully diminished
859:
852:
848:
845:
839:
816:
808:
780:
772:
771:
766:
765:
760:
759:
754:
753:
748:
747:
742:
741:
736:
735:
730:
729:
705:
704:
700:2 rather than a
699:
698:
674:
673:
647:diminished triad
639:often symbolized
582:
543:
527:Romeo and Juliet
502:
467:
420:
389:
339:
297:
225:
203:integer notation
174:
173:
168:
167:
162:
161:
151:diminished fifth
114:
105:
65:diminished fifth
46:
42:
21:
3244:
3243:
3239:
3238:
3237:
3235:
3234:
3233:
3219:
3218:
3217:
3212:
3181:
3126:
3090:
3062:
3024:
2962:
2949:
2940:Synthetic chord
2908:
2879:Northern lights
2844:Complexe sonore
2822:
2808:Augmented sixth
2796:
2794:
2784:
2766:
2765:
2759:Upper structure
2730:
2716:Altered seventh
2711:Augmented minor
2706:Augmented major
2691:Half-diminished
2647:
2602:
2597:
2565:, jazzguitar.be
2559:
2554:
2545:
2541:
2532:
2528:
2519:
2515:
2510:
2506:
2486:
2482:
2471:International,
2460:
2456:
2447:
2443:
2434:
2430:
2410:
2406:
2386:
2382:
2373:
2369:
2360:
2356:
2347:
2343:
2331:
2327:
2318:
2314:
2308:Music as an Art
2306:(2018, p. 138)
2302:
2298:
2286:
2282:
2265:
2261:
2244:
2237:
2220:
2216:
2196:
2192:
2188:
2161:
2147:
2146:
2139:
2138:
2131:
2130:
2123:
2122:
2114:
2113:
2087:
2086:
2078:
2077:
2070:
2069:
2062:
2061:
2053:
2052:
2043:
2042:
2032:
2031:
2024:
2023:
2015:
2014:
2002:
2001:
1983:
1982:
1971:
1963:
1962:
1955:
1954:
1946:
1945:
1936:
1935:
1922:
1921:
1913:
1912:
1900:
1899:
1892:
1891:
1875:
1874:
1863:
1852:
1845:
1844:
1836:
1835:
1817:
1816:
1808:
1807:
1798:
1797:
1789:
1788:
1781:
1780:
1761:
1753:
1752:
1744:
1733:
1726:
1725:
1717:
1716:
1707:
1706:
1696:
1695:
1688:
1687:
1679:
1678:
1666:
1665:
1647:
1646:
1635:
1628:
1627:
1620:
1619:
1611:
1610:
1601:
1600:
1590:
1589:
1582:
1581:
1573:
1572:
1560:
1559:
1540:
1539:
1528:
1520:
1519:
1512:
1511:
1503:
1502:
1484:
1483:
1475:
1474:
1465:
1464:
1457:
1456:
1449:
1448:
1429:
1418:
1407:
1400:
1399:
1391:
1390:
1365:
1328:
1327:
1322:
1321:
1316:
1315:
1310:
1309:
1304:
1303:
1298:
1297:
1294:augmented sixth
1288:
1287:
1282:
1281:
1276:
1275:
1270:
1269:
1253:
1252:
1231:
1230:
1221:
1220:
1215:
1214:
1207:
1206:
1201:
1200:
1195:
1194:
1189:
1188:
1183:
1182:
1177:
1176:
1167:
1166:
1161:
1160:
1155:to the lowered
1147:
1146:
1139:
1137:Other functions
1129:
1128:
1116:
1115:
1114:
1107:
1106:
1105:
1103:
1059:
1058:
1056:
1016:
1015:
1010:
1009:
996:
995:
983:
982:
977:
976:
966:first inversion
962:third inversion
946:
945:
944:
930:
929:
928:
926:
869:
860:
849:
843:
840:
829:
817:
806:
778:
769:
768:
763:
762:
757:
756:
751:
750:
749:5 chord { D F A
745:
744:
739:
738:
733:
732:
727:
726:
702:
701:
696:
695:
671:
670:
635:
607:Embraceable You
603:George Gershwin
576:
557:
537:
496:
461:
414:
383:
348:
337:
321:Et carnatus est
291:
272:
219:
205:{0, 3, 6, 10}.
197:
196:
194:
171:
170:
165:
164:
159:
158:
41:
35:
28:
23:
22:
15:
12:
11:
5:
3242:
3232:
3231:
3229:Seventh chords
3214:
3213:
3211:
3210:
3205:
3203:List of chords
3200:
3195:
3189:
3187:
3183:
3182:
3180:
3179:
3174:
3169:
3164:
3159:
3154:
3149:
3144:
3138:
3136:
3132:
3131:
3128:
3127:
3125:
3124:
3119:
3114:
3109:
3104:
3098:
3096:
3092:
3091:
3089:
3088:
3083:
3078:
3072:
3070:
3064:
3063:
3061:
3060:
3055:
3050:
3045:
3040:
3034:
3032:
3026:
3025:
3023:
3022:
3013:
3008:
3003:
2998:
2993:
2988:
2982:
2980:
2971:
2964:
2963:
2956:
2954:
2951:
2950:
2948:
2947:
2942:
2937:
2932:
2927:
2922:
2920:Mixed interval
2916:
2914:
2910:
2909:
2907:
2906:
2901:
2896:
2891:
2886:
2881:
2876:
2871:
2866:
2861:
2856:
2851:
2846:
2841:
2836:
2830:
2828:
2824:
2823:
2821:
2820:
2815:
2810:
2805:
2799:
2797:
2789:
2786:
2785:
2783:
2782:
2777:
2772:
2761:
2756:
2751:
2746:
2740:
2738:
2732:
2731:
2729:
2728:
2723:
2718:
2713:
2708:
2703:
2698:
2693:
2688:
2683:
2678:
2673:
2668:
2663:
2657:
2655:
2649:
2648:
2646:
2645:
2640:
2635:
2630:
2625:
2619:
2617:
2608:
2604:
2603:
2596:
2595:
2588:
2581:
2573:
2567:
2566:
2558:
2557:External links
2555:
2553:
2552:
2539:
2526:
2513:
2504:
2480:
2454:
2452:. Hal Leonard.
2441:
2428:
2404:
2380:
2367:
2354:
2341:
2325:
2312:
2296:
2280:
2259:
2235:
2214:
2189:
2187:
2184:
2183:
2182:
2177:
2172:
2167:
2165:Bar-line shift
2160:
2157:
2156:
2155:
2152:
2151:
2143:
2135:
2127:
2119:
2109:
2108:
2105:
2102:
2099:
2096:
2092:
2091:
2083:
2074:
2066:
2058:
2048:
2047:
2039:
2036:
2028:
2020:
2010:
2009:
2006:
1998:
1995:
1992:
1988:
1987:
1979:
1968:
1959:
1951:
1941:
1940:
1932:
1929:
1926:
1918:
1908:
1907:
1904:
1896:
1888:
1885:
1881:
1880:
1871:
1860:
1849:
1841:
1831:
1830:
1827:
1824:
1821:
1813:
1803:
1802:
1794:
1785:
1777:
1774:
1770:
1769:
1758:
1741:
1730:
1722:
1712:
1711:
1703:
1700:
1692:
1684:
1674:
1673:
1670:
1662:
1659:
1656:
1652:
1651:
1643:
1632:
1624:
1616:
1606:
1605:
1597:
1594:
1586:
1578:
1568:
1567:
1564:
1556:
1553:
1550:
1546:
1545:
1536:
1525:
1516:
1508:
1498:
1497:
1494:
1491:
1488:
1480:
1470:
1469:
1461:
1453:
1445:
1442:
1438:
1437:
1426:
1415:
1404:
1396:
1386:
1385:
1382:
1379:
1376:
1373:
1364:
1361:
1355:or diverge to
1227:
1226:
1211:
1151:ii), which is
1138:
1135:
1113:, no. 3 (1893)
1108:
1097:
1094:
1091:
1090:
1089:
1061:
1060:
1050:
1047:
931:
920:
917:
914:
913:
912:
868:
865:
862:
861:
820:
818:
811:
805:
802:
715:
714:
707:
688:
660:Milton Babbitt
634:
631:
563:Symphony No. 7
333:
271:
268:
199:
198:
188:
185:
141:composed of a
117:
116:
110:
109:
98:
97:
96:or 25:30:36:45
90:
89:
83:
82:
76:
75:
69:
68:
61:
60:
54:
53:
26:
9:
6:
4:
3:
2:
3241:
3230:
3227:
3226:
3224:
3209:
3206:
3204:
3201:
3199:
3196:
3194:
3191:
3190:
3188:
3184:
3178:
3175:
3173:
3170:
3168:
3165:
3163:
3160:
3158:
3155:
3153:
3150:
3148:
3145:
3143:
3140:
3139:
3137:
3133:
3123:
3120:
3118:
3115:
3113:
3112:Primary triad
3110:
3108:
3105:
3103:
3100:
3099:
3097:
3093:
3087:
3084:
3082:
3079:
3077:
3074:
3073:
3071:
3069:
3065:
3059:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3035:
3033:
3031:
3027:
3021:
3017:
3014:
3012:
3009:
3007:
3004:
3002:
2999:
2997:
2994:
2992:
2989:
2987:
2984:
2983:
2981:
2979:
2975:
2972:
2970:
2965:
2960:
2946:
2943:
2941:
2938:
2936:
2933:
2931:
2928:
2926:
2923:
2921:
2918:
2917:
2915:
2911:
2905:
2902:
2900:
2897:
2895:
2892:
2890:
2887:
2885:
2882:
2880:
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2857:
2855:
2852:
2850:
2847:
2845:
2842:
2840:
2837:
2835:
2832:
2831:
2829:
2825:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2800:
2798:
2792:
2787:
2781:
2778:
2776:
2773:
2771:
2762:
2760:
2757:
2755:
2752:
2750:
2747:
2745:
2742:
2741:
2739:
2737:
2733:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2658:
2656:
2654:
2650:
2644:
2641:
2639:
2636:
2634:
2631:
2629:
2626:
2624:
2621:
2620:
2618:
2616:
2612:
2609:
2605:
2601:
2594:
2589:
2587:
2582:
2580:
2575:
2574:
2571:
2564:
2561:
2560:
2549:
2543:
2536:
2530:
2523:
2517:
2508:
2501:
2497:
2493:
2489:
2484:
2478:
2477:0-89281-560-4
2474:
2470:
2466:
2463:
2462:Mathieu, W.A.
2458:
2451:
2445:
2438:
2432:
2425:
2421:
2417:
2413:
2408:
2401:
2397:
2393:
2389:
2384:
2377:
2371:
2364:
2358:
2351:
2345:
2338:
2334:
2329:
2322:
2316:
2309:
2305:
2300:
2293:
2289:
2284:
2277:
2273:
2269:
2263:
2256:
2252:
2248:
2242:
2240:
2232:
2231:9781451015348
2228:
2224:
2218:
2211:
2210:9780945193517
2207:
2203:
2199:
2194:
2190:
2181:
2180:Tristan chord
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2162:
2144:
2136:
2128:
2120:
2111:
2110:
2106:
2103:
2100:
2097:
2094:
2093:
2084:
2075:
2067:
2059:
2050:
2049:
2040:
2037:
2029:
2021:
2012:
2011:
2007:
1999:
1996:
1993:
1990:
1989:
1980:
1975:
1969:
1960:
1952:
1943:
1942:
1933:
1930:
1927:
1919:
1910:
1909:
1905:
1897:
1889:
1886:
1883:
1882:
1872:
1867:
1861:
1856:
1850:
1842:
1833:
1832:
1828:
1825:
1822:
1814:
1805:
1804:
1795:
1786:
1778:
1775:
1772:
1771:
1765:
1759:
1748:
1742:
1737:
1731:
1723:
1714:
1713:
1704:
1701:
1693:
1685:
1676:
1675:
1671:
1663:
1660:
1657:
1654:
1653:
1644:
1639:
1633:
1625:
1617:
1608:
1607:
1598:
1595:
1587:
1579:
1570:
1569:
1565:
1557:
1554:
1551:
1548:
1547:
1537:
1532:
1526:
1517:
1509:
1500:
1499:
1495:
1492:
1489:
1481:
1472:
1471:
1462:
1454:
1446:
1443:
1440:
1439:
1433:
1427:
1422:
1416:
1411:
1405:
1397:
1388:
1387:
1384:Flat seventh
1383:
1380:
1377:
1374:
1371:
1370:
1367:
1366:
1360:
1358:
1354:
1350:
1346:
1342:
1339:
1335:
1295:
1267:
1266:minor seventh
1263:
1258:
1250:
1246:
1242:
1238:
1212:
1174:
1173:
1172:
1158:
1154:
1144:
1134:
1126:
1121:
1112:
1101:
1088:
1086:
1082:
1078:
1074:
1070:
1066:
1054:
1044:
1043:
1042:
1040:
1036:
1032:
1031:
1026:
1021:
1014:– Fm – Em – E
1007:
1006:Night and Day
1003:
993:
992:passing chord
990:
974:
969:
967:
963:
959:
955:
951:
943:
939:
935:
924:
911:
909:
905:
901:
897:
893:
888:
886:
882:
878:
874:
858:
855:
847:
844:February 2019
837:
833:
827:
826:
821:This section
819:
815:
810:
809:
801:
799:
795:
794:chord voicing
791:
787:
786:Tristan chord
782:
776:
724:
720:
717:Jazz pianist
712:
708:
693:
689:
686:
682:
678:
677:
676:
668:
663:
661:
654:
652:
648:
642:
640:
630:
628:
624:
620:
616:
612:
608:
604:
599:
590:
574:
572:
568:
564:
560:
559:Gustav Mahler
551:
535:
533:
529:
528:
519:
516:Wagner, from
514:
507:
504:Wagner, from
494:
492:
484:
481:Wagner, from
479:
472:
469:Wagner, from
459:
457:
453:
449:
448:
443:
442:
437:
428:
412:
410:
409:Scherzo No. 1
406:
397:
381:
379:
378:
373:
369:
368:Wedding March
360:
356:
352:
346:
344:
340:
332:
330:
326:
325:Michael Haydn
323:section from
322:
314:
309:
302:
289:
287:
286:
281:
277:
267:
265:
261:
257:
253:
249:
245:
242:
233:
217:
215:
211:
210:root position
206:
204:
192:
182:
181:
180:
178:
156:
155:minor seventh
152:
148:
144:
140:
139:seventh chord
136:
132:
128:
124:
111:
108:
103:
99:
95:
91:
88:
84:
81:
77:
74:
70:
66:
62:
59:
58:minor seventh
55:
52:
47:
40:
33:
19:
3016:Leading-tone
2793: /
2780:Tone cluster
2690:
2661:Leading-tone
2547:
2542:
2534:
2529:
2521:
2516:
2507:
2491:
2488:Forte, Allen
2483:
2464:
2457:
2449:
2444:
2436:
2431:
2415:
2412:Forte, Allen
2407:
2391:
2388:Forte, Allen
2383:
2370:
2362:
2357:
2344:
2336:
2333:Taruskin, R.
2328:
2320:
2315:
2307:
2299:
2291:
2288:Taruskin, R.
2283:
2267:
2262:
2246:
2222:
2217:
2204:, p. 139n9.
2201:
2193:
1378:Minor third
1351:converge to
1349:major second
1259:
1228:
1140:
1117:
1072:
1062:
1039:leading-tone
1028:
1022:
970:
952:movement of
947:
936:movement of
889:
870:
850:
841:
830:Please help
825:verification
822:
783:
719:Barry Harris
716:
685:Locrian mode
679:the seventh
665:
656:
643:
636:
595:
556:
525:
523:
517:
505:
488:
482:
470:
445:
439:
433:
402:
376:
364:
358:
354:
335:
328:
320:
318:
312:
300:
283:
273:
248:scale degree
238:
207:
200:
134:
130:
126:
123:music theory
120:
113:4-27 /
3001:Subdominant
2864:Grandmother
2721:Nondominant
2701:Minor-major
2304:Scruton, R.
1237:subdominant
1085:major ninth
1002:Cole Porter
877:predominant
615:Cole Porter
598:Allen Forte
532:Tchaikovsky
438:that opens
372:Mendelssohn
252:major scale
214:sixth chord
147:minor third
73:minor third
3135:Techniques
3122:Substitute
3117:Subsidiary
3053:Neapolitan
3011:Submediant
2991:Supertonic
2764:Dominant 7
2754:Thirteenth
2686:Diminished
2638:Diminished
2500:0300083386
2424:0300083386
2400:0300083386
2276:0130811289
2270:, p. 295.
2249:, p. 217.
2186:References
1338:resolution
1274:} in { C E
938:J. S. Bach
892:minor mode
887:function.
881:diminished
781:sequence.
723:Mixolydian
690:the sixth
280:J. S. Bach
260:major mode
107:Complement
37:See also:
3152:Chordioid
3068:Secondary
2884:Petrushka
2818:Seven six
2775:Polychord
2643:Suspended
2633:Augmented
2494:, p. 11.
2418:, p. 13.
2394:, p. 11.
2225:, p. 86.
1341:irregular
1065:major key
1025:cadential
989:chromatic
954:J.S. Bach
873:functions
625:" by the
491:chromatic
452:leitmotif
315:, opening
303:, opening
157:(1,
143:root note
102:Forte no.
67:(tritone)
3223:Category
3193:Arpeggio
3107:Contrast
3043:Borrowed
3038:Approach
3020:Subtonic
3006:Dominant
2978:Diatonic
2969:function
2925:Secundal
2827:Specific
2767:♯
2749:Eleventh
2736:Extended
2676:Dominant
2175:Subtonic
2159:See also
2148:♯
2140:♯
2132:♯
2124:♯
2115:♯
2088:♭
2079:♭
2071:♭
2063:♭
2054:♭
2044:♯
2033:♯
2025:♯
2016:♯
2003:♭
1984:♭
1964:♭
1956:♭
1947:♭
1937:♯
1923:♯
1914:♯
1901:♭
1893:♭
1876:♭
1846:♭
1837:♭
1818:♯
1809:♯
1799:♭
1790:♭
1782:♭
1754:♭
1727:♭
1718:♭
1708:♯
1697:♯
1689:♯
1680:♯
1667:♭
1648:♭
1629:♭
1621:♭
1612:♭
1602:♯
1591:♯
1583:♯
1574:♯
1561:♭
1541:♭
1521:♭
1513:♭
1504:♭
1485:♯
1476:♯
1466:♭
1458:♭
1450:♭
1401:♭
1392:♭
1329:♯
1323:♭
1317:♭
1311:♯
1305:♭
1299:♭
1289:♭
1283:♭
1277:♭
1271:♭
1254:♯
1232:♯
1222:♯
1216:♯
1208:♭
1202:♯
1196:♯
1190:♯
1184:♯
1178:♯
1168:♭
1162:♯
1159:(in C: D
1148:♯
1130:♯
1017:♭
1011:♯
997:♯
984:♭
978:♯
950:Ciaccona
934:Ciaccona
900:diatonic
885:dominant
804:Function
770:♭
764:♭
758:♭
752:♭
746:♭
740:♭
734:♭
728:♭
703:♭
697:♮
672:♭
619:arpeggio
571:arpeggio
567:register
530:(1880),
518:Parsifal
506:Parsifal
483:Parsifal
471:Parsifal
458:chords:
456:diatonic
447:Parsifal
411:(1835):
380:(1842).
331:(1768):
241:diatonic
172:♭
169:5,
166:♭
163:3,
160:♭
153:, and a
104: /
18:Minor7b5
3058:Passing
3030:Altered
2996:Mediant
2935:Quartal
2930:Tertian
2913:General
2899:Tristan
2894:So What
2854:Elektra
2795:omitted
2653:Seventh
2607:By form
1249:C major
1125:tritone
1083:with a
798:spelled
627:Beatles
623:Because
485:, act 1
473:, act 1
343:YouTube
258:in the
250:of any
244:harmony
177:written
137:) is a
94:5:6:7:9
3208:Factor
3162:Guitar
3102:Common
2945:Tetrad
2889:Psalms
2874:Mystic
2859:Farben
2839:Bridge
2813:Lydian
2600:Chords
2498:
2475:
2422:
2398:
2274:
2253:
2229:
2208:
1372:Chord
1357:octave
1353:unison
1264:. The
1004:song "
883:, and
405:Chopin
361:(1768)
311:Bach,
299:Bach,
276:affect
125:, the
87:Tuning
3186:Other
3177:Slash
3172:Power
3147:Block
3142:Barre
3095:Other
2986:Tonic
2869:Magic
2849:Dream
2834:Alpha
2803:Sixth
2791:Added
2744:Ninth
2671:Minor
2666:Major
2628:Minor
2623:Major
2615:Triad
1375:Root
1296:{ C E
1157:third
1073:fully
908:tonic
784:The "
767:D F A
761:9 { B
683:(the
621:and "
613:" by
520:act 3
508:act 3
436:chord
370:from
133:or a
3167:Open
2496:ISBN
2473:ISBN
2420:ISBN
2396:ISBN
2272:ISBN
2251:ISBN
2227:ISBN
2206:ISBN
2082:(E)
1978:(D)
1967:(B)
1879:(E)
1870:(C)
1859:(A)
1793:(B)
1768:(D)
1740:(G)
1642:(A)
1544:(B)
1535:(G)
1524:(E)
1436:(A)
1425:(F)
1414:(D)
1199:–A–C
1187:–A–C
904:II-V
896:root
779:ii–V
731:5 G7
681:mode
667:Jazz
149:, a
115:8-27
80:root
51:root
2967:By
2095:Bm
1991:Am
1884:Gm
1773:Fm
1655:Em
1549:Dm
1441:Cm
1326:D F
1247:of
1245:key
1219:= F
1193:= F
1171:).
1165:= E
1079:(a
956:'s
940:'s
834:by
407:'s
341:on
327:'s
282:'s
239:In
121:In
3225::
3018:/
2238:^
2118:m
2107:A
2104:F
2101:D
2098:B
2057:m
2038:E
2019:m
2008:G
1997:C
1994:A
1950:m
1931:D
1928:B
1917:m
1906:F
1887:G
1840:m
1829:E
1826:C
1823:A
1812:m
1776:F
1757:)
1751:(B
1721:m
1702:B
1683:m
1672:D
1661:G
1658:E
1615:m
1596:A
1577:m
1566:C
1555:F
1552:D
1507:m
1496:B
1493:G
1490:E
1479:m
1444:C
1395:m
1359:.
1257:.
1205:–E
1181:–F
800:.
629:.
2770:9
2592:e
2585:t
2578:v
2502:.
2426:.
2402:.
2278:.
2257:.
2233:.
2212:.
2145:A
2137:F
2129:D
2121:B
2112:B
2085:A
2076:F
2068:D
2060:B
2051:B
2041:G
2030:C
2022:A
2013:A
2000:E
1981:G
1970:E
1961:C
1953:A
1944:A
1934:F
1920:G
1911:G
1898:D
1890:B
1873:F
1862:D
1851:B
1843:G
1834:G
1815:F
1806:F
1796:E
1787:C
1779:A
1760:E
1743:C
1732:A
1724:F
1715:F
1705:D
1694:G
1686:E
1677:E
1664:B
1645:D
1634:B
1626:G
1618:E
1609:E
1599:C
1588:F
1580:D
1571:D
1558:A
1538:C
1527:A
1518:F
1510:D
1501:D
1482:C
1473:C
1463:B
1455:G
1447:E
1428:B
1417:G
1406:E
1398:C
1389:C
1320:C
1308:A
1302:G
1286:B
1280:G
1225:m
1213:D
1175:D
1145:(
1102:.
1055:.
925:.
857:)
851:(
846:)
842:(
828:.
713:.
216::
193:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
