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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
633:
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
589:
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
642:. 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.
173:
354:
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
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282:
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210:
1111:
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
405:
1228:(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
374:
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283:
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211:
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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
630:
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).
1116:
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 "
406:
478:"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
375:
453:
820:
392:
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
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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
364:
1012:
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
3186:
1099:
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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
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281:
209:
777:" is sometimes described as a half-diminished seventh chord; however, the term "Tristan chord" is typically reserved for a very specific
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dim – Dm – G – CM. If analyzed in its predominant function, it wouldn't sufficiently explain how it functions preceding the Fm chord.
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The half-diminished seventh chord is frequently used in passages that convey heightened emotion. For example, the "mournful
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has astutely pointed out, the "half-diminished" seventh chord should be called the "one-third" diminished seventh chord.
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from
Michael Haydn's Missa Sancti Nicolai Tolentini, MH 109 performed by Le Choeur de Filles de la Maîtrise de Bordeaux
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892:
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musicians typically consider the half-diminished chord (more commonly known as the minor seventh flat five chord, m7
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The sharpened subdominant diminished triad with minor seventh chord is represented with the Roman numeral notation
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2709:
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899:(such as in the progression D – G – Cm), but there are also instances where there is a major tonic resolution.
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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
639:
20:
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diminished if played within the scale. Indeed, the VII half diminished chord in a major key is identical to a
501:
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Diminished chord function is rarer but still exists. Half-diminished chords can function in the same way as
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1023:
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714:) scale with an added half-step to keep all the chord tones on the beat. For example, for the chords "Dm7
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220:
277:(1727) features the chord on the seventh beat of its first bar and on the first beat of its third bar:
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883:, where it takes a predominant function, leading naturally to the dominant V chord. Not including the
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1329:
1229:
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598:". Other examples in the popular song repertoire that use the half-diminished seventh chord include "
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A variant of the supertonic seventh chord (ii) is the supertonic half-diminished seventh with the
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iv," but in terms of its function in the progression, the styling "vii/V" is more descriptive.
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In his book celebrating popular songs of the first half of the twentieth century, musicologist
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chord. Like the typical augmented sixth chord, this enharmonic interpretation gives on a
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2281:
The Oxford
History of Western Music: Music in the Seventeenth and Eighteenth Centuries.
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Harmonic
Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression
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433:(1859) is the best known and most-discussed example.) However, in his final opera
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The half-diminished seventh chord may also be enharmonically interpreted as an
1107:
The dominant function of the half-diminished seventh chord may also occur in a
3155:
2999:
2979:
2742:
926:
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268:
248:
255:(e.g., D in C minor). It has been described as a "considerable instability".
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2763:
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942:
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and is the only scale that keeps all the chord tones on the beat across the
479:
440:
983:
preceding a chord with a diatonic root. A typical example of this is when
683:—this scale is nearly identical to the Locrian mode, except that it has a
423:
Wagner frequently used the chord for dramatic and expressive effect. (The
3181:
3008:
2913:
2163:
953:) for the first beat of the second measure, then to the dominant (a V in
938:
922:
710:
explained that bebop musicians would play a descending dominant seventh (
607:
559:
444:
435:
229:
2367:
Programme notes for the Oregon
Symphony Orchestra. Accessed 20 July 2020
164:
7). For example, the half-diminished seventh chord built on B, commonly
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2918:
1237:
1145:
1113:
827: in this section. Unsourced material may be challenged and removed.
615:
232:
139:
53:
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follows a minor chord with a half-diminished chord to striking effect:
201:
and in three inversions. The first inversion is enharmonic to a minor
1345:
1341:
393:
2326:
The Oxford
History of Western Music: Music in the Nineteenth Century
235:, the half-diminished seventh chord occurs naturally on the seventh
1030:
to the tonic. In the key of C, this is chord is B, as shown below.
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525:
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484:
465:
449:
439:(1882), the composer used the half-diminished seventh to colour a
414:
402:
383:
371:
338:
295:
279:
219:
207:
606:, where the opening phrase of the melody unfolds the chord as an
2539:, vol. 2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.
949:, the tonic in the first measure progresses to the ii chord (in
879:
The vast majority of its occurrences are on the II chord in the
655:
554:" (1905) as a tragic night without stars or moonlight." The low
2561:
251:. Similarly, the chord also occurs on the second degree of any
796:
482:
harmony here conveys "a deeply sad and resigned impression"
2557:
1098:
Secondary leading-tone half-diminished chord in Brahms's
1087:
Audio playback is not supported in your browser. You can
1040:
Audio playback is not supported in your browser. You can
910:
Audio playback is not supported in your browser. You can
178:
Audio playback is not supported in your browser. You can
1257:
interval (between root and seventh degree, i.e.: { C B
1332:
for the half-diminished seventh but regular for the
957:), and then back to the tonic in the third measure.
3174:
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2955:
2901:
2815:
2777:
2723:
2640:
2602:
2595:
89:
74:
37:
1056:, since the flattening of the sixth degree in the
891:II chord of the minor scale, most of the time the
695:2, giving it a somewhat more consonant quality; or
976:dim – Dm, where the diminished chord serves as a
732:9 chord). This works because the notes of the Dm7
513:In the opening section of his Fantasy-Overture,
964:chords, such as in the chord progression CM – C
644:
323:
937:For example, over the first three bars of the
664:5) as built from one of the following scales:
2573:
2339:"Guide to the Thematic Material of Parsifal".
8:
2479:; Lalli, Richard; and Chapman, Gary (2001).
2403:; Lalli, Richard; and Chapman, Gary (2001).
2379:; Lalli, Richard; and Chapman, Gary (2001).
1060:renders a dominant diminished seventh chord
860:The half-diminished seventh chord has three
197:The half-diminished seventh chord exists in
32:
2481:Listening to Classic American Popular Songs
2405:Listening to Classic American Popular Songs
2381:Listening to Classic American Popular Songs
2257:Tonality and Design in Music Theory, Vol. I
2962:
2599:
2580:
2566:
2558:
640:diminished triad plus a diminished seventh
638:plus a minor seventh. Instead, it means a
243:(for example, B in C major) and is thus a
2230:
2228:
1336:, where the two voices at the enharmonic
1224:iv; the root of this chord is the raised
843:Learn how and when to remove this message
542:Tchaikovsky Romeo & Juliet bars 28-33
534:Tchaikovsky Romeo & Juliet bars 28-33
2424:"From this Moment On" (1977, p. 123) in
2255:Henry, Earl and Rogers, Michael (2004).
1357:
785:and sometimes even the way the chord is
762:C }. This scale is sometimes called the
2552:Improvising over half-diminished chords
2179:
1281:} ) is enharmonically equivalent to an
1016:motion. This chord, sometimes called a
168:as Bm7(♭5), or B, has pitches B-D-F-A:
31:
2236:Music: In Theory and Practice, Vol. I
1019:leading-tone diminished seventh chord
989:IV progresses to IVm, such as in the
7:
2509:Ouseley, Frederick. A. Gore (1868).
2191:Esquisse de l'histoire de l'harmonie
825:adding citations to reliable sources
2513:, pg. 137, Oxford, Clarendon Press.
2500:Benward & Saker (2003), p. 276.
1352:Half-diminished seventh chord table
997:", where there is the progression F
626:Half-diminished seventh chords are
1321:}, a virtual minor version of the
1240:, the chord playing this role is F
267:" of the sombre opening Chorus of
14:
594:'s use of the chord in his song "
2946:
2537:Materials and Structure of Music
2526:, pg. 138ff, Boston, B. F. Wood.
2437:"Because" (1989, p. 106, bar 3)
2350:Bauer, H. J. (1978, pp. 45-49),
2308:Walker, A. (2018, pp. 187–188),
1961:
1853:
1842:
1751:
1734:
1723:
1625:
1518:
1419:
1408:
1397:
921:The first three measures of the
801:
550:saw the opening movement of his
224:Half-diminished chord inversions
216:Half-diminished chord inversions
28:Dominant seventh flat five chord
2354:: Musikverlag Emil Katzbichler.
947:Violin Partita No. 2 in D minor
931:Violin Partita No. 2 in D minor
812:needs additional citations for
781:, especially determined by the
681:mode of the melodic minor scale
581:Mahler, Symphony No. 7, opening
573:Mahler, Symphony No. 7, opening
1026:vii, the root of which is the
419:Chopin, Scherzo No. 1 bars 1–8
411:Chopin, Scherzo No. 1 bars 1–8
348:Missa Sancti Nicolai Tolentini
318:Missa Sancti Nicolai Tolentini
1:
1303:}. Transposing this gives { A
868:(also called "subdominant"),
744:C } are also chord tones of B
622:Chord symbols and terminology
190:It can be represented by the
124:minor seventh flat five chord
116:half-diminished seventh chord
33:half-diminished seventh chord
2365:"Mahler's Seventh Symphony."
2234:Benward & Saker (2003).
1084:
1037:
907:
895:pattern resolves to a minor
175:
2439:The Beatles Complete Scores
2189:and Arlin, Mary I. (1994).
1052:This generally occurs in a
3236:
2670:Dominant seventh flat five
2524:Harmony: A Course of Study
388:Mendelssohn, Wedding March
380:Mendelssohn, Wedding March
245:leading-tone seventh chord
25:
18:
2944:
2210:Shirlaw, Matthew (2012).
1142:enharmonically equivalent
1076:) with its root omitted.
864:in contemporary harmony:
366:A Midsummer Night's Dream
101:
81:
67:
60:
52:
45:
38:Component intervals from
2535:Christ, William (1966).
2522:Chadwick, G. W. (1922).
2328:Oxford University Press.
2310:Chopin, a Life and Times
2283:Oxford University Press.
2159:Diminished seventh chord
1022:, is represented by the
21:Diminished seventh chord
19:Not to be confused with
3187:Chord names and symbols
2426:The Best of Cole Porter
1089:download the audio file
1042:download the audio file
912:download the audio file
764:Phrygian dominant scale
698:the second mode of the
363:'s incidental music to
180:download the audio file
3070:Secondary leading-tone
2187:Fétis, François-Joseph
1323:French augmented sixth
1232:. For example, in the
1024:Roman numeral notation
653:
582:
574:
543:
535:
510:
498:
475:
463:
420:
412:
389:
381:
351:
336:
305:
293:
225:
217:
2511:A Treatise on Harmony
2456:(1997), pp. 371-372,
2341:Accessed 8 June 2020.
2212:The Theory of Harmony
1334:augmented sixth chord
1251:augmented sixth chord
856:Most common functions
676:) of the major scale;
580:
572:
541:
533:
504:
492:
469:
457:
418:
410:
387:
379:
346:from Michael Haydn's
342:
299:
287:
223:
215:
120:half-diminished chord
3075:Secondary supertonic
2363:Schwartz, E. (2018)
2324:(2020, pp. 540–541)
1230:backdoor progression
1066:dominant ninth chord
821:improve this article
700:harmonic minor scale
259:Expressive potential
2428:. London, Chappell.
2337:Everett, D. (1996)
2299:London, Bloomsbury.
1100:Intermezzo, Op. 119
1058:natural minor scale
970:dim – Dm, or Em – E
600:From This Moment On
562:in the second bar.
253:natural minor scale
34:
3146:Chord-scale system
3065:Secondary dominant
1109:secondary dominant
647:composer-theorist
583:
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544:
536:
511:
499:
476:
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430:Tristan und Isolde
421:
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306:
302:St Matthew Passion
294:
290:St Matthew Passion
274:St Matthew Passion
226:
218:
134:, together with a
16:Music theory chord
3205:
3204:
3119:
3118:
3037:Chromatic mediant
2942:
2941:
2893:Viennese trichord
2352:Wagner's Parsifal
2244:978-0-07-294262-0
2143:
2142:
1370:Diminished fifth
1132:raised supertonic
1093:
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845:
779:harmonic function
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531:
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344:Et incarnatus est
327:Et incarnatus est
308:Similarly in the
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118:(also known as a
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2715:Harmonic seventh
2685:Diminished major
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2458:Inner Traditions
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2312:. London, Faber.
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2279:(2010, p. 378),
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1070:dominant seventh
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987:
975:
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968:
962:fully diminished
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724:
719:
718:
694:
693:
689:2 rather than a
688:
687:
663:
662:
636:diminished triad
628:often symbolized
571:
532:
516:Romeo and Juliet
491:
456:
409:
378:
328:
286:
214:
192:integer notation
163:
162:
157:
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151:
150:
140:diminished fifth
103:
94:
54:diminished fifth
35:
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3222:
3208:
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3206:
3201:
3170:
3115:
3079:
3051:
3013:
2951:
2938:
2929:Synthetic chord
2897:
2868:Northern lights
2833:Complexe sonore
2811:
2797:Augmented sixth
2785:
2783:
2773:
2755:
2754:
2748:Upper structure
2719:
2705:Altered seventh
2700:Augmented minor
2695:Augmented major
2680:Half-diminished
2636:
2591:
2586:
2554:, jazzguitar.be
2548:
2543:
2534:
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2358:
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2316:
2307:
2303:
2297:Music as an Art
2295:(2018, p. 138)
2291:
2287:
2275:
2271:
2254:
2250:
2233:
2226:
2209:
2205:
2185:
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2177:
2150:
2136:
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2128:
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2111:
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2059:
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2042:
2041:
2032:
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2020:
2013:
2012:
2004:
2003:
1991:
1990:
1972:
1971:
1960:
1952:
1951:
1944:
1943:
1935:
1934:
1925:
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1562:
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1418:
1407:
1396:
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1379:
1354:
1317:
1316:
1311:
1310:
1305:
1304:
1299:
1298:
1293:
1292:
1287:
1286:
1283:augmented sixth
1277:
1276:
1271:
1270:
1265:
1264:
1259:
1258:
1242:
1241:
1220:
1219:
1210:
1209:
1204:
1203:
1196:
1195:
1190:
1189:
1184:
1183:
1178:
1177:
1172:
1171:
1166:
1165:
1156:
1155:
1150:
1149:
1144:to the lowered
1136:
1135:
1128:
1126:Other functions
1118:
1117:
1105:
1104:
1103:
1096:
1095:
1094:
1092:
1048:
1047:
1045:
1005:
1004:
999:
998:
985:
984:
972:
971:
966:
965:
955:first inversion
951:third inversion
935:
934:
933:
919:
918:
917:
915:
858:
849:
838:
832:
829:
818:
806:
795:
767:
758:
757:
752:
751:
746:
745:
740:
739:
738:5 chord { D F A
734:
733:
728:
727:
722:
721:
716:
715:
691:
690:
685:
684:
660:
659:
624:
596:Embraceable You
592:George Gershwin
565:
546:
526:
485:
450:
403:
372:
337:
326:
310:Et carnatus est
280:
261:
208:
194:{0, 3, 6, 10}.
186:
185:
183:
160:
159:
154:
153:
148:
147:
30:
24:
17:
12:
11:
5:
3233:
3232:
3229:
3221:
3220:
3218:Seventh chords
3210:
3209:
3203:
3202:
3200:
3199:
3194:
3192:List of chords
3189:
3184:
3178:
3176:
3172:
3171:
3169:
3168:
3163:
3158:
3153:
3148:
3143:
3138:
3133:
3127:
3125:
3121:
3120:
3117:
3116:
3114:
3113:
3108:
3103:
3098:
3093:
3087:
3085:
3081:
3080:
3078:
3077:
3072:
3067:
3061:
3059:
3053:
3052:
3050:
3049:
3044:
3039:
3034:
3029:
3023:
3021:
3015:
3014:
3012:
3011:
3002:
2997:
2992:
2987:
2982:
2977:
2971:
2969:
2960:
2953:
2952:
2945:
2943:
2940:
2939:
2937:
2936:
2931:
2926:
2921:
2916:
2911:
2909:Mixed interval
2905:
2903:
2899:
2898:
2896:
2895:
2890:
2885:
2880:
2875:
2870:
2865:
2860:
2855:
2850:
2845:
2840:
2835:
2830:
2825:
2819:
2817:
2813:
2812:
2810:
2809:
2804:
2799:
2794:
2788:
2786:
2778:
2775:
2774:
2772:
2771:
2766:
2761:
2750:
2745:
2740:
2735:
2729:
2727:
2721:
2720:
2718:
2717:
2712:
2707:
2702:
2697:
2692:
2687:
2682:
2677:
2672:
2667:
2662:
2657:
2652:
2646:
2644:
2638:
2637:
2635:
2634:
2629:
2624:
2619:
2614:
2608:
2606:
2597:
2593:
2592:
2587:
2585:
2584:
2577:
2570:
2562:
2556:
2555:
2547:
2546:External links
2544:
2542:
2541:
2528:
2515:
2502:
2493:
2469:
2443:
2441:. Hal Leonard.
2430:
2417:
2393:
2369:
2356:
2343:
2330:
2314:
2301:
2285:
2269:
2248:
2224:
2203:
2178:
2176:
2173:
2172:
2171:
2166:
2161:
2156:
2154:Bar-line shift
2149:
2146:
2145:
2144:
2141:
2140:
2132:
2124:
2116:
2108:
2098:
2097:
2094:
2091:
2088:
2085:
2081:
2080:
2072:
2063:
2055:
2047:
2037:
2036:
2028:
2025:
2017:
2009:
1999:
1998:
1995:
1987:
1984:
1981:
1977:
1976:
1968:
1957:
1948:
1940:
1930:
1929:
1921:
1918:
1915:
1907:
1897:
1896:
1893:
1885:
1877:
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1810:
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1792:
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1783:
1774:
1766:
1763:
1759:
1758:
1747:
1730:
1719:
1711:
1701:
1700:
1692:
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1673:
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1469:
1459:
1458:
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1442:
1434:
1431:
1427:
1426:
1415:
1404:
1393:
1385:
1375:
1374:
1371:
1368:
1365:
1362:
1353:
1350:
1344:or diverge to
1216:
1215:
1200:
1140:ii), which is
1127:
1124:
1102:, no. 3 (1893)
1097:
1086:
1083:
1081:
1080:
1079:
1078:
1050:
1049:
1039:
1036:
1034:
920:
909:
906:
904:
903:
902:
901:
857:
854:
851:
850:
809:
807:
800:
794:
791:
704:
703:
696:
677:
649:Milton Babbitt
623:
620:
552:Symphony No. 7
322:
260:
257:
188:
187:
177:
174:
172:
130:composed of a
106:
105:
99:
98:
87:
86:
85:or 25:30:36:45
79:
78:
72:
71:
65:
64:
58:
57:
50:
49:
43:
42:
15:
13:
10:
9:
6:
4:
3:
2:
3231:
3230:
3219:
3216:
3215:
3213:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3179:
3177:
3173:
3167:
3164:
3162:
3159:
3157:
3154:
3152:
3149:
3147:
3144:
3142:
3139:
3137:
3134:
3132:
3129:
3128:
3126:
3122:
3112:
3109:
3107:
3104:
3102:
3101:Primary triad
3099:
3097:
3094:
3092:
3089:
3088:
3086:
3082:
3076:
3073:
3071:
3068:
3066:
3063:
3062:
3060:
3058:
3054:
3048:
3045:
3043:
3040:
3038:
3035:
3033:
3030:
3028:
3025:
3024:
3022:
3020:
3016:
3010:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2972:
2970:
2968:
2964:
2961:
2959:
2954:
2949:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2910:
2907:
2906:
2904:
2900:
2894:
2891:
2889:
2886:
2884:
2881:
2879:
2876:
2874:
2871:
2869:
2866:
2864:
2861:
2859:
2856:
2854:
2851:
2849:
2846:
2844:
2841:
2839:
2836:
2834:
2831:
2829:
2826:
2824:
2821:
2820:
2818:
2814:
2808:
2805:
2803:
2800:
2798:
2795:
2793:
2790:
2789:
2787:
2781:
2776:
2770:
2767:
2765:
2762:
2760:
2751:
2749:
2746:
2744:
2741:
2739:
2736:
2734:
2731:
2730:
2728:
2726:
2722:
2716:
2713:
2711:
2708:
2706:
2703:
2701:
2698:
2696:
2693:
2691:
2688:
2686:
2683:
2681:
2678:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2648:
2647:
2645:
2643:
2639:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2615:
2613:
2610:
2609:
2607:
2605:
2601:
2598:
2594:
2590:
2583:
2578:
2576:
2571:
2569:
2564:
2563:
2560:
2553:
2550:
2549:
2545:
2538:
2532:
2529:
2525:
2519:
2516:
2512:
2506:
2503:
2497:
2494:
2490:
2486:
2482:
2478:
2473:
2470:
2467:
2466:0-89281-560-4
2463:
2459:
2455:
2452:
2451:Mathieu, W.A.
2447:
2444:
2440:
2434:
2431:
2427:
2421:
2418:
2414:
2410:
2406:
2402:
2397:
2394:
2390:
2386:
2382:
2378:
2373:
2370:
2366:
2360:
2357:
2353:
2347:
2344:
2340:
2334:
2331:
2327:
2323:
2318:
2315:
2311:
2305:
2302:
2298:
2294:
2289:
2286:
2282:
2278:
2273:
2270:
2266:
2262:
2258:
2252:
2249:
2245:
2241:
2237:
2231:
2229:
2225:
2221:
2220:9781451015348
2217:
2213:
2207:
2204:
2200:
2199:9780945193517
2196:
2192:
2188:
2183:
2180:
2174:
2170:
2169:Tristan chord
2167:
2165:
2162:
2160:
2157:
2155:
2152:
2151:
2147:
2133:
2125:
2117:
2109:
2100:
2099:
2095:
2092:
2089:
2086:
2083:
2082:
2073:
2064:
2056:
2048:
2039:
2038:
2029:
2026:
2018:
2010:
2001:
2000:
1996:
1988:
1985:
1982:
1979:
1978:
1969:
1964:
1958:
1949:
1941:
1932:
1931:
1922:
1919:
1916:
1908:
1899:
1898:
1894:
1886:
1878:
1875:
1872:
1871:
1861:
1856:
1850:
1845:
1839:
1831:
1822:
1821:
1817:
1814:
1811:
1803:
1794:
1793:
1784:
1775:
1767:
1764:
1761:
1760:
1754:
1748:
1737:
1731:
1726:
1720:
1712:
1703:
1702:
1693:
1690:
1682:
1674:
1665:
1664:
1660:
1652:
1649:
1646:
1643:
1642:
1633:
1628:
1622:
1614:
1606:
1597:
1596:
1587:
1584:
1576:
1568:
1559:
1558:
1554:
1546:
1543:
1540:
1537:
1536:
1526:
1521:
1515:
1506:
1498:
1489:
1488:
1484:
1481:
1478:
1470:
1461:
1460:
1451:
1443:
1435:
1432:
1429:
1428:
1422:
1416:
1411:
1405:
1400:
1394:
1386:
1377:
1376:
1373:Flat seventh
1372:
1369:
1366:
1363:
1360:
1359:
1356:
1355:
1351:
1349:
1347:
1343:
1339:
1335:
1331:
1328:
1324:
1284:
1256:
1255:minor seventh
1252:
1247:
1239:
1235:
1231:
1227:
1201:
1163:
1162:
1161:
1147:
1143:
1133:
1125:
1123:
1115:
1110:
1101:
1090:
1077:
1075:
1071:
1067:
1063:
1059:
1055:
1043:
1033:
1032:
1031:
1029:
1025:
1021:
1020:
1015:
1010:
1003:– Fm – Em – E
996:
995:Night and Day
992:
982:
981:passing chord
979:
963:
958:
956:
952:
948:
944:
940:
932:
928:
924:
913:
900:
898:
894:
890:
886:
882:
877:
875:
871:
867:
863:
855:
847:
844:
836:
833:February 2019
826:
822:
816:
815:
810:This section
808:
804:
799:
798:
792:
790:
788:
784:
783:chord voicing
780:
776:
775:Tristan chord
771:
765:
713:
709:
706:Jazz pianist
701:
697:
682:
678:
675:
671:
667:
666:
665:
657:
652:
650:
643:
641:
637:
631:
629:
621:
619:
617:
613:
609:
605:
601:
597:
593:
588:
579:
563:
561:
557:
553:
549:
548:Gustav Mahler
540:
524:
522:
518:
517:
508:
505:Wagner, from
503:
496:
493:Wagner, from
483:
481:
473:
470:Wagner, from
468:
461:
458:Wagner, from
448:
446:
442:
438:
437:
432:
431:
426:
417:
401:
399:
398:Scherzo No. 1
395:
386:
370:
368:
367:
362:
358:
357:Wedding March
349:
345:
341:
335:
333:
329:
321:
319:
315:
314:Michael Haydn
312:section from
311:
303:
298:
291:
278:
276:
275:
270:
266:
258:
256:
254:
250:
246:
242:
238:
234:
231:
222:
206:
204:
200:
199:root position
195:
193:
181:
171:
170:
169:
167:
145:
144:minor seventh
141:
137:
133:
129:
128:seventh chord
125:
121:
117:
113:
100:
97:
92:
88:
84:
80:
77:
73:
70:
66:
63:
59:
55:
51:
48:
47:minor seventh
44:
41:
36:
29:
22:
3005:Leading-tone
2782: /
2769:Tone cluster
2679:
2650:Leading-tone
2536:
2531:
2523:
2518:
2510:
2505:
2496:
2480:
2477:Forte, Allen
2472:
2453:
2446:
2438:
2433:
2425:
2420:
2404:
2401:Forte, Allen
2396:
2380:
2377:Forte, Allen
2372:
2359:
2351:
2346:
2333:
2325:
2322:Taruskin, R.
2317:
2309:
2304:
2296:
2288:
2280:
2277:Taruskin, R.
2272:
2256:
2251:
2235:
2211:
2206:
2193:, p. 139n9.
2190:
2182:
1367:Minor third
1340:converge to
1338:major second
1248:
1217:
1129:
1106:
1061:
1051:
1028:leading-tone
1017:
1011:
959:
941:movement of
936:
925:movement of
878:
859:
839:
830:
819:Please help
814:verification
811:
772:
708:Barry Harris
705:
674:Locrian mode
668:the seventh
654:
645:
632:
625:
584:
545:
514:
512:
506:
494:
477:
471:
459:
434:
428:
422:
391:
365:
353:
347:
343:
324:
317:
309:
307:
301:
289:
272:
262:
237:scale degree
227:
196:
189:
123:
119:
115:
112:music theory
109:
102:4-27 /
2990:Subdominant
2853:Grandmother
2710:Nondominant
2690:Minor-major
2293:Scruton, R.
1226:subdominant
1074:major ninth
991:Cole Porter
866:predominant
604:Cole Porter
587:Allen Forte
521:Tchaikovsky
427:that opens
361:Mendelssohn
241:major scale
203:sixth chord
136:minor third
62:minor third
3124:Techniques
3111:Substitute
3106:Subsidiary
3042:Neapolitan
3000:Submediant
2980:Supertonic
2753:Dominant 7
2743:Thirteenth
2675:Diminished
2627:Diminished
2489:0300083386
2413:0300083386
2389:0300083386
2265:0130811289
2259:, p. 295.
2238:, p. 217.
2175:References
1327:resolution
1263:} in { C E
927:J. S. Bach
881:minor mode
876:function.
870:diminished
770:sequence.
712:Mixolydian
679:the sixth
269:J. S. Bach
249:major mode
96:Complement
26:See also:
3141:Chordioid
3057:Secondary
2873:Petrushka
2807:Seven six
2764:Polychord
2632:Suspended
2622:Augmented
2483:, p. 11.
2407:, p. 13.
2383:, p. 11.
2214:, p. 86.
1330:irregular
1054:major key
1014:cadential
978:chromatic
943:J.S. Bach
862:functions
614:" by the
480:chromatic
441:leitmotif
304:, opening
292:, opening
146:(1,
132:root note
91:Forte no.
56:(tritone)
3212:Category
3182:Arpeggio
3096:Contrast
3032:Borrowed
3027:Approach
3009:Subtonic
2995:Dominant
2967:Diatonic
2958:function
2914:Secundal
2816:Specific
2756:♯
2738:Eleventh
2725:Extended
2665:Dominant
2164:Subtonic
2148:See also
2137:♯
2129:♯
2121:♯
2113:♯
2104:♯
2077:♭
2068:♭
2060:♭
2052:♭
2043:♭
2033:♯
2022:♯
2014:♯
2005:♯
1992:♭
1973:♭
1953:♭
1945:♭
1936:♭
1926:♯
1912:♯
1903:♯
1890:♭
1882:♭
1865:♭
1835:♭
1826:♭
1807:♯
1798:♯
1788:♭
1779:♭
1771:♭
1743:♭
1716:♭
1707:♭
1697:♯
1686:♯
1678:♯
1669:♯
1656:♭
1637:♭
1618:♭
1610:♭
1601:♭
1591:♯
1580:♯
1572:♯
1563:♯
1550:♭
1530:♭
1510:♭
1502:♭
1493:♭
1474:♯
1465:♯
1455:♭
1447:♭
1439:♭
1390:♭
1381:♭
1318:♯
1312:♭
1306:♭
1300:♯
1294:♭
1288:♭
1278:♭
1272:♭
1266:♭
1260:♭
1243:♯
1221:♯
1211:♯
1205:♯
1197:♭
1191:♯
1185:♯
1179:♯
1173:♯
1167:♯
1157:♭
1151:♯
1148:(in C: D
1137:♯
1119:♯
1006:♭
1000:♯
986:♯
973:♭
967:♯
939:Ciaccona
923:Ciaccona
889:diatonic
874:dominant
793:Function
759:♭
753:♭
747:♭
741:♭
735:♭
729:♭
723:♭
717:♭
692:♭
686:♮
661:♭
608:arpeggio
560:arpeggio
556:register
519:(1880),
507:Parsifal
495:Parsifal
472:Parsifal
460:Parsifal
447:chords:
445:diatonic
436:Parsifal
400:(1835):
369:(1842).
320:(1768):
230:diatonic
161:♭
158:5,
155:♭
152:3,
149:♭
142:, and a
93: /
3047:Passing
3019:Altered
2985:Mediant
2924:Quartal
2919:Tertian
2902:General
2888:Tristan
2883:So What
2843:Elektra
2784:omitted
2642:Seventh
2596:By form
1238:C major
1114:tritone
1072:with a
787:spelled
616:Beatles
612:Because
474:, act 1
462:, act 1
332:YouTube
247:in the
239:of any
233:harmony
166:written
126:) is a
83:5:6:7:9
3197:Factor
3151:Guitar
3091:Common
2934:Tetrad
2878:Psalms
2863:Mystic
2848:Farben
2828:Bridge
2802:Lydian
2589:Chords
2487:
2464:
2411:
2387:
2263:
2242:
2218:
2197:
1361:Chord
1346:octave
1342:unison
1253:. The
993:song "
872:, and
394:Chopin
350:(1768)
300:Bach,
288:Bach,
265:affect
114:, the
76:Tuning
3175:Other
3166:Slash
3161:Power
3136:Block
3131:Barre
3084:Other
2975:Tonic
2858:Magic
2838:Dream
2823:Alpha
2792:Sixth
2780:Added
2733:Ninth
2660:Minor
2655:Major
2617:Minor
2612:Major
2604:Triad
1364:Root
1285:{ C E
1146:third
1062:fully
897:tonic
773:The "
756:D F A
750:9 { B
672:(the
610:and "
602:" by
509:act 3
497:act 3
425:chord
359:from
122:or a
3156:Open
2485:ISBN
2462:ISBN
2409:ISBN
2385:ISBN
2261:ISBN
2240:ISBN
2216:ISBN
2195:ISBN
2071:(E)
1967:(D)
1956:(B)
1868:(E)
1859:(C)
1848:(A)
1782:(B)
1757:(D)
1729:(G)
1631:(A)
1533:(B)
1524:(G)
1513:(E)
1425:(A)
1414:(F)
1403:(D)
1188:–A–C
1176:–A–C
893:II-V
885:root
768:ii–V
720:5 G7
670:mode
656:Jazz
138:, a
104:8-27
69:root
40:root
2956:By
2084:Bm
1980:Am
1873:Gm
1762:Fm
1644:Em
1538:Dm
1430:Cm
1315:D F
1236:of
1234:key
1208:= F
1182:= F
1160:).
1154:= E
1068:(a
945:'s
929:'s
823:by
396:'s
330:on
316:'s
271:'s
228:In
110:In
3214::
3007:/
2227:^
2107:m
2096:A
2093:F
2090:D
2087:B
2046:m
2027:E
2008:m
1997:G
1986:C
1983:A
1939:m
1920:D
1917:B
1906:m
1895:F
1876:G
1829:m
1818:E
1815:C
1812:A
1801:m
1765:F
1746:)
1740:(B
1710:m
1691:B
1672:m
1661:D
1650:G
1647:E
1604:m
1585:A
1566:m
1555:C
1544:F
1541:D
1496:m
1485:B
1482:G
1479:E
1468:m
1433:C
1384:m
1348:.
1246:.
1194:–E
1170:–F
789:.
618:.
2759:9
2581:e
2574:t
2567:v
2491:.
2415:.
2391:.
2267:.
2246:.
2222:.
2201:.
2134:A
2126:F
2118:D
2110:B
2101:B
2074:A
2065:F
2057:D
2049:B
2040:B
2030:G
2019:C
2011:A
2002:A
1989:E
1970:G
1959:E
1950:C
1942:A
1933:A
1923:F
1909:G
1900:G
1887:D
1879:B
1862:F
1851:D
1840:B
1832:G
1823:G
1804:F
1795:F
1785:E
1776:C
1768:A
1749:E
1732:C
1721:A
1713:F
1704:F
1694:D
1683:G
1675:E
1666:E
1653:B
1634:D
1623:B
1615:G
1607:E
1598:E
1588:C
1577:F
1569:D
1560:D
1547:A
1527:C
1516:A
1507:F
1499:D
1490:D
1471:C
1462:C
1452:B
1444:G
1436:E
1417:B
1406:G
1395:E
1387:C
1378:C
1309:C
1297:A
1291:G
1275:B
1269:G
1214:m
1202:D
1164:D
1134:(
1091:.
1044:.
914:.
846:)
840:(
835:)
831:(
817:.
702:.
205::
182:.
23:.
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