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Harmony 3Diminished 7th Chords. Diminished chord patterns.

Harmony 3 text pp.42-481

Descending diminished seventh chords2

The descending diminished seventh chords are NOT derived from secondary dominant function since they do not contain the tritone of the expected resolution chords dominant.3

4If you study example 3 on p.42 and example 1 on p.43 of your H3 text you will see that bIIIo7 and bVIo7 are derived from chromatic voice leading.

5If you study examples 2 and 3 on p. 43 of your H3 text you will see that the auxiliary diminished seventh chords [Io7 and Vo7] are also derived from chromatic voice leading.

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The auxiliary diminished seventh chords often delay the movement to their target chords.

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The auxiliary diminished seventh chords often delay the movement to their target chords.

8Dominant chords have a POTENTIAL for deceptive resolution - However, diminished seventh chords have an ABSOLUTE EXPECTATION for resolution.

9It is rare for a diminished seventh chord to move deceptively.However, the ascending and descending diminished chords do have alternate chords of resolution.

10#Io7 has an expectation to resolve chromatically to IIm7.#Io7 has an alternate chord of resolution to IIm7s related dominant V7/5.#Io7 IIm7#Io7 V7/5

11#IIo7 has an expectation to resolve chromatically to IIIm7.#IIo7 has an alternate chord of resolution to I/3.

#IIo7 IIIm7#IIo7 I(add9)/3

12REAL BOOK TIME!

Who Can I Turn To (p.404)

Willow Weep For Me (p.406)

13#IVo7 has an expectation to resolve chromatically to V7.#IVo7 has an alternate chord of resolution to I/5.#IVo7 V7#IVo7 I6/5

14REAL BOOK TIME!

Blizzard Of Lies (p.23)

Gee Baby, Aint I Good To You (p.112)

15#Vo7bIIIo7bVIo7 also have alternate chords of resolution.Study examples 2 and 3 and 4 on p.45 of your H3 text.

16The auxiliary diminished chords do not have alternate chords of resolution.

17Available Tensions and Diminished Chords

18Diminished seventh chordshave four possible tensions.

19Tensions on diminished seventh chords are either 911b13maj7

(Maj7 is a tension and NOT a possible chord tone).

20Tensions for diminished seventh chords can be characterised as either diatonic for a diatonic situation or non-diatonic for a non-diatonic situation.

21If an extended diminished seventh structure is created with all the tensions (9 11 b13 maj7) the resulting diminished chord can not be diatonic to any key.The available tensions would not fit into any valid key signature.

22If an extended diminished seventh structure is created with all the tensions (9 11 b13 maj7) the resulting symmetric scale (though it may be seen as a diminished scale) would be associated with dominant function.(More on this next week)

23If the target for any diminished seventh chord is diatonic, the available tensions must also be diatonic.The resulting pitches a major ninth above a chord tone are available tensions.

24To determine the available tensions for any of the diatonic functioning diminished seventh chords, follow the same procedure as you would for determining the available tensions for any secondary dominant chord.

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Lets use #Io7 in the key of C major (C#o7) as an example.

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STEP 1.

Write out the arpeggio.

27STEP 2.

Place the tensions between the chord tones using notes that are diatonic to the key.

28STEP 3.

Fill in the note heads that are only a half-step above a chord tone.These tensions will be the unavailable tensions.

29Study the examples on pages 47 and 48 of your Harmony 3 text.

Diminished chords in popular musicMy Alcoholic Friends Dresden DollsSupremacy MusePanic Station MuseExplorer MuseWho Says John MayerDreaming With a Broken Heart John Mayer30

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Panic Station - Muse32