# Diminished triad > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Diminished_triad > Markdown URL: https://mediated.wiki/source/Diminished_triad.md > Source: https://en.wikipedia.org/wiki/Diminished_triad > Source revision: 1356014673 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) {{Short description|Type of musical chord}} {{redirect|Diminished chord|the seventh chord|Diminished seventh chord}} {{Infobox chord| chord_name=diminished triad| first_interval=[root](/source/root_(chord))| second_interval=[minor third](/source/minor_third)| third_interval=[diminished fifth](/source/tritone) ([tritone](/source/tritone))| tuning=[45:54:64](/source/just_intonation);Shirlaw, Matthew (2012). ''The Theory of Harmony'', p. 304. Forgotten Books. {{ISBN|978-1-4510-1534-8}}. 54:45=[6:5](/source/just_minor_third) & [64:45](/source/just_tritone)[Partch, Harry](/source/Harry_Partch) (1979). ''[Genesis of a Music](/source/Genesis_of_a_Music)'', pp. 68–69. {{ISBN|978-0-306-80106-8}}.| forte_number=3-10| complement=9-10 }}In [music theory](/source/music_theory), a '''diminished triad''' is a [triad](/source/triad_(music)) with a [minor third](/source/minor_third) and a [diminished fifth](/source/Tritone) above the [root](/source/Root_(chord)). When using [chord symbols](/source/Chord_names_and_symbols_(popular_music)), it may be indicated by the symbols "dim", "{{music|diminished}}", "m{{music|flat}}5", or "MI({{music|b}}5)".Benward & Saker (2003), p.77. However, in most popular-music chord books, the symbol "dim" or "{{music|diminished}}" represents a [diminished seventh chord](/source/diminished_seventh_chord) (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "{{music|diminished}}7" symbols. For example, the diminished triad built on B, written as B{{music|diminished}}, has pitches B-D-F: : { \omit Score.TimeSignature \relative c' { 1 } } The chord can be represented by the [integer notation](/source/Pitch_class) {0, 3, 6}. In the [common practice period](/source/common_practice_period), the diminished triad was considered [dissonant](/source/Consonance_and_dissonance) because of the [diminished fifth](/source/Tritone) (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) \new PianoStaff << \new Staff << \relative c'' { \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 } >> \new Staff << \relative c' { \clef F \key g \major \time 24/16 g8.[_\markup { \concat { "I" \hspace #20.5 "IV" \hspace #19.5 "vii" \raise #1 \small "o" \hspace #19.5 "I" } } g,] r g' g[ g,] r g' g[ g,] r g' g[ g,] r g' } >> >> }
|width=500|caption=A diminished triad substituting for dominant chord in [J. S. Bach's](/source/Johann_Sebastian_Bach) ''[Well-Tempered Clavier](/source/Well-Tempered_Clavier)'' I, Prelude in G major.{{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=[https://archive.org/details/introductiontoth0000jona/page/25 25]|publisher=Longman |translator-last=Rothgeb|translator-first=John|trans-title=Introduction to the Theory of [Heinrich Schenker](/source/Heinrich_Schenker)|author-link=Oswald Jonas|orig-year=1934|url=https://archive.org/details/introductiontoth0000jona/page/25}}}} In [major scales](/source/Major_scale), a diminished triad occurs only on the seventh [scale degree](/source/Degree_(music)). 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](/source/Leading-tone)''. This chord has a [dominant function](/source/dominant_function). Unlike the [dominant triad](/source/dominant_triad) or [dominant seventh](/source/Dominant_seventh_chord), the leading-tone triad functions as a [prolongation](/source/prolongation)al chord rather than a structural chord since the strong root motion by fifth is absent.{{sfn|Roig-Francolí|2011|page=248}} On the other hand, in [natural minor scales](/source/Natural_minor_scale), 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](/source/supertonic) diminished triad''. Like the supertonic minor triad found in a major key, the supertonic diminished triad has a [predominant function](/source/Predominant_chord), almost always resolving to a dominant functioning chord.{{sfn|Roig-Francolí|2011|page=174}} If the music is in a minor key, diminished triads can also be found on the raised seventh note, {{music|#}}vii{{music|dim}}. This is because the [ascending melodic minor scale](/source/ascending_melodic_minor_scale) has a raised sixth and seventh degree. For example, the chord progression {{music|#}}vii{{music|dim}}–i is common. The leading-tone diminished triad and supertonic diminished triad are usually found in [first inversion](/source/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.{{sfn|Roig-Francolí|2011|page=248}} This differs from the [fully diminished seventh chord](/source/fully_diminished_seventh_chord), which commonly occurs in [root position](/source/root_position).{{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|publisher=McGraw-Hill }} In both cases, the bass resolves up and the upper voices move downwards in [contrary motion](/source/contrary_motion). ==In popular music== Walter Everett writes that "In [rock](/source/Rock_music) and [pop](/source/Pop_music) 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."{{cite book|title=The Foundations of Rock|url=https://archive.org/details/foundationsrockf00ever_837|url-access=limited|last=Everett|first=Walter|date=2009|isbn=978-0-19-531023-8|page=[https://archive.org/details/foundationsrockf00ever_837/page/n211 195]|publisher=Oxford University Press, USA }} Songs that feature ii{{music|dim}} include [Santo & Johnny](/source/Santo_%26_Johnny)'s "[Sleep Walk](/source/Sleep_Walk)", [Jay and the Americans](/source/Jay_and_the_Americans)' "[Cara Mia](/source/Cara_Mia)", and [the Hollies](/source/the_Hollies)' "[The Air That I Breathe](/source/The_Air_That_I_Breathe)". 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](/source/Oasis_(band))' "[Don't Look Back in Anger](/source/Don't_Look_Back_in_Anger)", [David Bowie](/source/David_Bowie)'s "[Space Oddity](/source/Space_Oddity)", and two in [Daryl Hall](/source/Daryl_Hall)'s "[Everytime You Go Away](/source/Everytime_You_Go_Away)".{{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=[https://archive.org/details/whattolistenfori0000step/page/85 85]|publisher=Yale University Press |url=https://archive.org/details/whattolistenfori0000step/page/85}} The vii{{music|dim}} in major keys is relatively less common than the ii{{music|dim}}, but still does happen. It is almost always used to [tonicize](/source/Tonicization) the relative minor, in progressions such as vii{{music|dim}}–V7/vi–vi, which resembles ii{{music|dim}}–V7–i in the relative minor. == Tuning == thumb|Comparison, in cents, of diminished triad tunings In a [twelve-tone equal temperament](/source/twelve-tone_equal_temperament), a diminished triad has three [semitone](/source/semitone)s between the third and fifth, three semitones between the root and third, and six semitones between the root and fifth. In [5-limit](/source/5-limit) [just intonation](/source/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](/source/Georg_Andreas_Sorge), the [trumpet](/source/trumpet), in its overtone series on C, gives the diminished triad E–G–B{{music|b}} = 5:6:7 ("perfect diminished chord"{{cite book|last1=Fétis|first1=François-Joseph|author1-link=François-Joseph Fétis|last2=Arlin|first2=Mary I.|date=1994|title=Esquisse de l'histoire de l'harmonie|page=[https://archive.org/details/esquissedelhisto0000feti/page/139 139n9]|isbn=978-0-945193-51-7|url=https://archive.org/details/esquissedelhisto0000feti/page/139}}), but the [7](/source/harmonic_seventh) is too flat and 45:54:64 is preferred. [Helmholtz](/source/Hermann_von_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](/source/On_the_Sensations_of_Tone_as_a_Physiological_Basis_for_the_Theory_of_Music)''.{{cite book|first=Hermann|last=Helmholtz|author-link=Hermann von Helmholtz|date=1885|title=On the Sensations of Tone as a Physiological Basis for the Theory of Music|page=344|location=Longmans, Green}} 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. :{| class="wikitable" |- ! rowspan="1" | ! colspan="3" | Sorge (perfect)/
7-limit ! colspan="3" style="background: silver;" | Sorge (preferred)/
5-limit major ! colspan="3" | 5-limit minor
(D,F,A{{music|b}}) |- | colspan="10" style="text-align: center;" | Harmonics |- ! Root | E | 5 | 386.31 | style="background: #e8e8e8;" | F{{music|#}}{{music|plus}} | style="background: #e8e8e8;" | 45 | style="background: #e8e8e8;" | 590.22 | C{{music|#}} | 135 | 92.18 |- ! Third | G | 6 | 701.96 | style="background: #e8e8e8;" | A{{music|+}} | style="background: #e8e8e8;" | 54 | style="background: #e8e8e8;" | 905.87 | E | 160 | 386.31 |- ! Fifth | {{nowrap|B{{music|7}}{{music|b}}}} | 7 | 968.83 | style="background: #e8e8e8;" | C | style="background: #e8e8e8;" | 64 | style="background: #e8e8e8;" | 1200 | G | 192 | 701.96 |- | colspan="10" style="text-align: center;" | On B |- ! Root | B | 15:8 | 1088.27 | style="background: #e8e8e8;" | B | style="background: #e8e8e8;" | 15:8 | style="background: #e8e8e8;" | 1088.27 | B | 15:8 | 1088.27 |- ! Third | D | 9:8 | 203.91 | style="background: #e8e8e8;" | D | style="background: #e8e8e8;" | 9:8 | style="background: #e8e8e8;" | 203.91 | D- | 10:9 | 182.40 |- ! Fifth | F{{music|7}}{{music|+}} | 21:16 | 470.78 | style="background: #e8e8e8;" | F | style="background: #e8e8e8;" | 4:3 | style="background: #e8e8e8;" | 498.04 | F | 4:3 | 498.04 |- | colspan="10" style="text-align: center;" | On C |- ! Root | C | 1:1 | 0 | style="background: #e8e8e8;" | C | style="background: #e8e8e8;" | 1:1 | style="background: #e8e8e8;" | 0 | C | 1:1 | 0 |- ! Third | E{{music|b}} | 6:5 | 315.64 | style="background: #e8e8e8;" | E{{music|b}} | style="background: #e8e8e8;" | 6:5 | style="background: #e8e8e8;" | 315.64 | E{{music|b}}{{music|-}} | 32:27 | 294.13 |- ! Fifth | G{{music|7}}{{music|b}} | 7:5 | 582.51 | style="background: #e8e8e8;" | G{{music|b}}{{music|-}} | style="background: #e8e8e8;" | 64:45 | style="background: #e8e8e8;" | 609.78 | G{{music|b}}{{music|-}} | 64:45 | 609.78 |} ==Diminished chord table== :{| class="wikitable" !Chord !Root !Minor third !Diminished fifth |- !Cdim |C |E{{music|b}} |G{{music|b}} |- !C{{music|#}}dim |C{{music|#}} |E |G |- !D{{music|b}}dim |D{{music|b}} |F{{music|b}} (E) |A{{music|bb}} (G) |- !Ddim |D |F |A{{music|b}} |- !D{{music|#}}dim |D{{music|#}} |F{{music|#}} |A |- !E{{music|b}}dim |E{{music|b}} |G{{music|b}} |B{{music|bb}} (A) |- !Edim |E |G |B{{music|b}} |- !Fdim |F |A{{music|b}} |C{{music|b}} (B) |- !F{{music|#}}dim |F{{music|#}} |A |C |- !G{{music|b}}dim |G{{music|b}} |B{{music|bb}} (A) |D{{music|bb}} (C) |- !Gdim |G |B{{music|b}} |D{{music|b}} |- !G{{music|#}}dim |G{{music|#}} |B |D |- !A{{music|b}}dim |A{{music|b}} |C{{music|b}} (B) |E{{music|bb}} (D) |- !Adim |A |C |E{{music|b}} |- !A{{music|#}}dim |A{{music|#}} |C{{music|#}} |E |- !B{{music|b}}dim |B{{music|b}} |D{{music|b}} |F{{music|b}} (E) |- !Bdim |B |D |F |} ==See also== * [Half-diminished seventh chord](/source/Half-diminished_seventh_chord) * [Secondary leading-tone chord](/source/Secondary_leading-tone_chord) * [Augmented triad](/source/Augmented_triad) * [Diminished seventh chord](/source/Diminished_seventh_chord) ==References== {{Reflist}} '''Sources''' * {{cite book|last=Roig-Francolí|first=Miguel|author-link=Miguel Roig-Francolí|title=Harmony in Context|year=2011|publisher=McGraw-Hill|location=New York|isbn=9780073137940}} {{Degrees}} {{Chords}} {{DEFAULTSORT:Diminished Triad Chord}} Category:Chords --- Adapted from the Wikipedia article [Diminished triad](https://en.wikipedia.org/wiki/Diminished_triad) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Diminished_triad?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.