Jody Nagel
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IV. Fully-Diminished-7th --- Major Triad Relationships
The Three Classes of "Resolution" of a Diminished-7th-Chord Progressing to a Major Triad
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Unique Harmonic Relationships

Harmonic Relationships, Example 4
Closest "tonal" voice-leading, using only common-tones, semitones, or whole-tones
(The specified voice-leading-type is shown in black note-heads.)
When resolving to a major triad, Type-1
°7 has no common-tones, Type-2 °7 has one common-tone, and
Type-3 °7 has two common-tones.
Relationships Example 4a
Walter Piston sometimes named this diminished 7th chord: V90. If the "major-triad-of-resolution" has a dominant function, then the implication is that there is no true harmonic progression between the two chords, since a dominant function is followed merely by another dominant function. However, if the "major-triad-of-resolution" has a tonic function, and if the root of the major triad is approached with contrary-motion voice-leading "up a major 2nd" (as in a Phrygian Half Cadence), then, to my ears (at any rate), this sequence of sonorities sounds like a very distinctive harmonic progression.

The pattern of fully-diminished-7th-chord resolution-types: as the major-triad-of-resolution rises by semitone through the chromatic scale.
Relationships Example 4b
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Unique Harmonic Relationships

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