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词条 Diminished triad
释义

  1. Harmonic function

  2. In popular music

  3. Tuning

  4. Diminished chord table

  5. See also

  6. Sources

{{Infobox chord|

chord_name=diminished triad|

first_interval=root|

second_interval=minor third|

third_interval=diminished fifth (tritone)|

tuning=45:54:64;[1] 54:45=6:5 & 64:45[2]|

forte_number=3-10|

complement=9-10

}}In music, a diminished triad (also known as the minor flatted fifth{{Citation needed|date=March 2019}}) is a triad consisting of two minor thirds above the root.[3] It is a minor triad with a lowered (flattened) fifth. When using popular-music symbols, it is indicated by the symbols "dim", "{{music|diminished}}", "m{{music|flat}}5", or "MI({{music|b}}5)".[4] . For example, the diminished triad built on C, written as C{{music|diminished}}, has pitches C–E{{music|flat}}–G{{music|flat}}:

{

\\override Score.TimeSignature #'stencil = ##f

\\relative c' {

   \\clef treble    \\time 4/4   \\key c \\major

1

} }

The chord can be represented by the integer notation {0, 3, 6}.

In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone).

Harmonic function

{{Image frame|content=
    {      #(set-global-staff-size 14)      \\override Score.SpacingSpanner.strict-note-spacing = ##t      \\set Score.proportionalNotationDuration = #(ly:make-moment 1/2)      \ew PianoStaff <<        \ew Staff <<            \\relative c'' {                \\clef treble \\key g \\major \\time 24/16                g16 b d g d b d b g b g d                  e g c e c g c g e g e c                  a c fis a fis c fis c a c a fis                  g b d g d b d b g b g d                }            >>        \ew Staff <<            \\relative c' {                \\clef bass \\key g \\major \\time 24/16                g8.[_\\markup { "I" \\hspace #20 "IV" \\hspace #19 "vii" \\super "o" \\hspace #19 "I" } g,] r g' g[ g,] r g' g[ g,] r g' g[ g,] r g'                }            >>    >> }

|width=515|caption=A diminished triad substituting for dominant chord in J.S. Bach's Well-Tempered Clavier I, Prelude in G major.[5]}}

In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the leading-tone triad. This chord has a dominant function. Unlike the dominant triad or dominant seventh, the leading-tone triad functions as a prolongational chord rather than a structural chord since the strong root motion by fifth is absent.[6]

On the other hand, in natural minor scales, the diminished triad occurs on the second scale degree; in the key of C minor, this is the D diminished triad (D, F, A{{music|b}}). This triad is consequently called the supertonic diminished triad. Like the supertonic triad found in a major key, the supertonic diminished triad has a predominant function, almost always resolving to a dominant functioning chord.[7]

The leading-tone diminished triad and supertonic diminished triad are usually found in first inversion (vii{{music|dim}}6 and ii{{music|dim}}6, respectively) since the spelling of the chord forms a diminished fifth with the bass.[8] This differs from the fully diminished seventh chord, which commonly occurs in root position.[9] In both cases, the bass resolves up and the upper voices move downwards in contrary motion.[9]

In popular music

Walter Everett writes that "In rock and pop music, the diminished triad nearly always appears on the second scale degree, forming a generally maudlin and dejected ii{{music|dim}} with its members, 2–4–{{music|b}}6."[10] Songs that feature ii{{music|dim}} include Santo & Johnny's "Sleep Walk", Jay and the Americans' "Cara Mia", and The Hollies' "The Air That I Breathe".[10] Not so rare but rare enough so as to imply knowledge of and conscious avoidance on the part of rock musicians, examples of its use include Oasis' "Don't Look Back in Anger", David Bowie's "Space Oddity", and two in Daryl Hall's "Everytime You Go Away".[11]

If the song is in a minor key, diminished triads are usually on the raised seventh note, vii{{music|dim}}. This is because the ascending melodic minor scale has a raised sixth and seventh degree. For example, the chord progression {{music|#}}vii{{music|dim}}–i is common.

Tuning

In a twelve-tone equal temperament, a diminished triad has three semitones between the third and fifth, three semitones between the root and third, and six semitones between the root and fifth. In 5-limit just intonation, the diminished chord on VII (in C: B–D–F) is 15:8, 9:8, and 4:3, while on II (in C: D–F–A{{music|b}}) it is 9:8, 4:3, and 8:5 (135:160:192). According to Georg Andreas Sorge, the trumpet, in its overtone series on C, gives the diminished triad E–G–B{{music|b}} = 5:6:7 ("perfect diminished chord"[12]), but the 7 is too flat and 45:54:64 is preferred.[1] Helmholtz describes the diminished triad as 1 − D | F, giving a just minor third and Pythagorean minor third (45:54:64) in the notation system used in On the Sensations of Tone as a Physiological Basis for the Theory of Music.[13] Play {{audio|Perfect diminished chord on C.mid|Perfect}}, {{audio|Preferred diminished chord on C.mid|Preferred}} (5-limit major), or {{audio|Five-limit minor diminished chord on C.mid|5-limit minor}} on C.

Sorge (perfect)/
7-limit		Sorge (preferred)/
5-limit major		5-limit minor
(D,F,A{{music|b)
Harmonics
Root E 5 386.31F{{music|#}}{{music|plus}}45590.22#}} 135 92.18
Third G 6 701.96A{{music|+}}54905.87 E 160 386.31
FifthB{{music|7}}{{music|b}}}} 7 968.83C641200 G 192 701.96
On B
Root B 15:8 1088.27B15:81088.27 B 15:8 1088.27
Third D 9:8 203.91D9:8203.91 D- 10:9 182.40
Fifth7}}{{music|+}} 21:16 470.78F4:3498.04 F 4:3 498.04
On C
Root C 1:1 0C1:10 C 1:1 0
Thirdb}} 6:5 315.64E{{music|b}}6:5315.64b}}{{music|-}} 32:27 294.13
Fifth7}}{{music|b}} 7:5 582.51G{{music|b}}{{music|-}}64:45609.78b}}{{music|-}} 64:45 609.78

Diminished chord table

ChordRootMinor thirdDiminished fifth
CdimCb}}b}}
#dim#}}EG
bdimb}}b}} (E)bb}} (G)
DdimDFb}}
#dim#}}#}}A
bdimb}}b}}bb}} (A)
EdimEGb}}
FdimFb}}b}} (B)
#dim#}}AC
bdimb}}bb}} (A)bb}} (C)
GdimGb}}b}}
#dim#}}BD
bdimb}}b}} (B)bb}} (D)
AdimACb}}
#dim#}}#}}E
bdimb}}b}}b}} (E)
BdimBDF

See also

  • Half-diminished seventh chord
  • Secondary leading-tone chord
  • Augmented triad

Sources

1. ^1 Shirlaw, Matthew (2012). The Theory of Harmony, p.304. Forgotten Books. {{ISBN|978-1-4510-1534-8}}.
2. ^Partch, Harry (1979). Genesis of a Music, p.68-69. {{ISBN|978-0-306-80106-8}}.
3. ^{{cite book|last1=Benward|last2=Saker|date=2003|title=Music: In Theory and Practice, Vol. I|page=68|edition=7th|ISBN=978-0-07-294262-0}}
4. ^Benward & Saker (2003), p.77.
5. ^{{cite book|title=Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers|last=Jonas|first=Oswald|date=1982|ISBN=0-582-28227-6|page=25|translator-last=Rothgeb|translator-first=John|trans-title=Introduction to the Theory of Heinrich Schenker|authorlink=Oswald Jonas|orig-year=1934}}
6. ^{{cite book|last=Roig-Francolí|first=Miguel|title=Harmony in Context|year=2011|publisher=McGraw-Hill|location=New York|isbn=9780073137940|pages=248}}
7. ^{{cite book|last=Roig-Francolí|first=Miguel|title=Harmony in Context|year=2011|publisher=McGraw-Hill|location=New York|isbn=9780073137940|pages=174}}
8. ^{{cite book|title=Harmony in Context|last=Roig-Francolí|first=Miguel|publisher=McGraw-Hill|year=2011|isbn=9780073137940|location=New York|pages=248}}
9. ^1 {{cite book|title=Music in Theory and Practice: Volume II|last1=Benward|last2=Saker|date=2009|ISBN=978-0-07-310188-0|edition=8th|page=76}}
10. ^1 {{cite book|title=The Foundations of Rock|last=Everett|first=Walter|date=2009|ISBN=978-0-19-531023-8|page=195}}
11. ^{{cite book|title=What to Listen for in Rock: A Stylistic Analysis|last=Stephenson|first=Ken|date=2002|ISBN=978-0-300-09239-4|page=85}}
12. ^{{cite book|last1=Fétis|first1=François-Joseph|last2=Arlin|first2=Mary I.|date=1994|title=Esquisse de l'histoire de l'harmonie|page=139n9|ISBN=978-0-945193-51-7}}
13. ^{{cite book|first=Hermann|last=Helmholtz|date=1885|title=On the Sensations of Tone as a Physiological Basis for the Theory of Music|page=344|location=Longmans, Green}}
{{Degrees}}{{Chords}}{{DEFAULTSORT:Diminished Triad Chord}}

1 : Chords
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