1 DIMINISHED CHORD PATTERNS The diminished 7th chord occurs on the 7th degree (leading tone) of the harmonic minor scale. Diminished chords are usually used in major keys to connect diatonic chords, or to delay a resolution. Diminished chords can function as primary or secondary dominants. They can precede any diatonic chord except VIIm7b5. The diminished chords are catogorised as - ascending; half step up resolution - descending; half step down resolution - auxiliary; no root movement, resolution to diatonic chord Ascending diminished chord (dominant function) EXAMPLES ANALYSIS VIIdim7 (=VII7md) Bo7 Cmaj7 VII I #Idim7 Cmaj7 C#o7 Dm7 I [VII] II Cmaj7 C#o7 G7/D I [VII] V6-5 #IIdim7 Dm7 D#o7 Em7 II [VII] III Dm7 D#o7 C/E II [VII] I6 IIIdim7 Cmaj7 Eo7 Fmaj7 I [VII] IV #IVdim7 Fmaj7 F#o7 G7 IV [VII] V Fmaj7 F#o7 C/G IV [VII] I6-4 #Vdim7 G7 G#o7 Am7 V [VII] VI G7 G#o7 A7 V [VII] [V] Function of ascending diminished chord Traditionally the Bo7 resolving to C functions as a G7b9 chord resolving to C, therefore all ascending diminished chords have a secondary dominant function (except Bo7 : primairy dominant function). #Idim7 (C#o7) function as: A7b9 a – c# - e – g - bes #IIdim7 (D#o7) function as: B7b9 b – d# - f# - a – c IIIdim7 (Eo7) function as: C7b9 c – e – g – bes - des #IVdim7 (F#o7) function as: D7b9 d – f# - a – c – es #Vdim7 (G#o7) function as: E7b9 e – g# - b – d – f

Diminished Chord Patterns

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DIMINISHED CHORD PATTERNS The diminished 7th chord occurs on the 7th degree (leading tone) of the harmonic minor scale. Diminished chords are usually used in major keys to connect diatonic chords, or to delay a resolution. Diminished chords can function as primary or secondary dominants. They can precede any diatonic chord except VIIm7b5. The diminished chords are catogorised as

- ascending; half step up resolution - descending; half step down resolution - auxiliary; no root movement, resolution to diatonic chord

Ascending diminished chord (dominant function) EXAMPLES ANALYSIS VIIdim7 (=VII7md) Bo7 Cmaj7 VII I #Idim7 Cmaj7 C#o7 Dm7 I [VII] II Cmaj7 C#o7 G7/D I [VII] V6-5 #IIdim7 Dm7 D#o7 Em7 II [VII] III Dm7 D#o7 C/E II [VII] I6 IIIdim7 Cmaj7 Eo7 Fmaj7 I [VII] IV #IVdim7 Fmaj7 F#o7 G7 IV [VII] V Fmaj7 F#o7 C/G IV [VII] I6-4 #Vdim7 G7 G#o7 Am7 V [VII] VI G7 G#o7 A7 V [VII] [V] Function of ascending diminished chord Traditionally the Bo7 resolving to C functions as a G7b9 chord resolving to C, therefore all ascending diminished chords have a secondary dominant function (except Bo7 : primairy dominant function). #Idim7 (C#o7) function as: A7b9 a – c# - e – g - bes #IIdim7 (D#o7) function as: B7b9 b – d# - f# - a – c IIIdim7 (Eo7) function as: C7b9 c – e – g – bes - des #IVdim7 (F#o7) function as: D7b9 d – f# - a – c – es #Vdim7 (G#o7) function as: E7b9 e – g# - b – d – f

Descending diminished chord = a passing chord EXAMPLES ANALYSIS (explanation) bIIIdim7 Em7 Ebo7 Dm7 bIIIo7 (III VII/V II) Em7 Ebo7 G7/D bIIIo7 (III VII/V V) bVIdim7 Am7 Abo7 G7 bVIo7 (VI VII/I V) Am7 Abo7 C/G bVIo7 (VI VII I) Function The descending diminished chords resolve chromatically and acts as a passing chord ; it has no harmonic function. Auxil iary diminished chord ANALYSIS : Io7 or Vo7 Idim7 Cmaj7 Co7 Cmaj7 Vdim7 G7 Go7 G7 Idim7 Dm7 G7 Co7 C∆7 delayed resolution on I Vdim7 Go7 G7 C∆7 delayed resolution on V Function Auxiliary chords are formed by the stepwise movement (up or down) of one or more of the voices away from a harmony note in one chord to form a new chord. The voice(s) then return to the original note(s) to reform the original harmony. The auxiliary diminished chords delay or extend the resolution; it has no [VII] or dominant function. It is a non-functional chord.