diminished seventh chord


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Related to diminished seventh chord: Minor seventh chord, Major seventh chord

diminished seventh chord

n
1. (Jazz) a chord often used in an enharmonic modulation and very common in modern music, esp jazz and pop music, consisting of a diminished triad with an added diminished seventh above the root. Often shortened to: diminished seventh
2. (Pop Music) a chord often used in an enharmonic modulation and very common in modern music, esp jazz and pop music, consisting of a diminished triad with an added diminished seventh above the root. Often shortened to: diminished seventh
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On one hand (bars 4-7) the tonic leads to a chord on the 6th degree (A), then a true novelty is introduced, the F sharp: this D major diminished seventh chord plays the function of a dominant seventh chord for G--and in fact the perfect triad on G follows (bar 7).
72 instead of a tonic chord, which progresses to a secondary seven diminished seventh chord.
In music, composers absorb a number of cliches: tragedy can be evoked by using predominantly minor chords played with rich sonorities in the bass register, suspense can be evoked using a diminished seventh chord with rapid tremolo, and surprise can be evoked by introducing a loud chromatic chord on a weak beat.
F: It is perfectly true that the work has the ambivalence that you have in the diminished seventh chord, and, therefore, when you're thinking of its tonality, it really could be almost any tonality within that hexachordal situation.
The third beat of measure 11 returns to the B minor triad, only to progress to a chord in measure 12 (A [flat] D F E) that can be heard (if we again substitute G[sharp] for A [flat]) as a submediant seventh with diminished seventh and added sixth, a close relative of the common-tone diminished seventh chord.
2) At the same time; the opera employs at least one virtually leitmotivic element in the F[sharp] diminished seventh chord associated with Samiel.
The use of the diminished seventh chord as a shock tactic was killed off by nineteenth century piano music, but this does not mean that a contemporary piece without such chords is better than Beethoven.
For example, a D diminished seventh chord and an F# diminished seventh chord belong to the prime form [0369].
While the revised version culminates in the familiar trill on the dominant in both hands, the original version concludes with an agogic accent on a diminished seventh chord, which then arpeggiales downward to return to the tonic.
It is actually the analogue, in the twenty-tone system, of the diminished seventh chord in N = 12.
A useful appendix explains diminished seventh chords and arpeggios and the chromatic scale, as well as providing a Chord Reference Guide and Glossary of Music Terms.