The Common-Tone Diminished Seventh Chord 7 · PDF fileThe Common-Tone Diminished Seventh Chord...

The Common-Tone Diminished Seventh Chord The Common-Tone Diminished Seventh Chord The common-tone diminished seventh chord (ct ˜ 7 ) does not function as a typical diminished seventh sonority. It is a chord of embellishment that usually progresses to a major triad or dominant seventh chord, the root of which is the same as one of the notes of the ˜ 7 chord. Although the ct ˜ 7 chord may embellish any triad or dominant seventh chord, it most often progresses to I or V 7 in major (minor examples are rare). The ct ˜ 7 chord may be spelled in any manner as long as one of the notes be the same as the root of the chord it embellishes. However, the ct ˜ 7 is usually spelled starting on the note an + 2 above the chord it embellishes. Exceptions to this spelling can still be found in lead-sheet notation. In general, the ct ˜ 7 that embellishes I is spelled as a # ii ˜ 7 , and that which embellishes V as a # vi ˜ 7 . Because the ct ˜ 7 has no theoretical root no inversion figures are necessary for analysis. Also, because the chord is a distinctly nonessential, embellishing chord that acts as a neighbor or passing sonority, the analytical symbol is often placed in parentheses. The ct ˜ 7 chord is usually a complete sonority but it may also be found in incomplete versions. It is easy to confuse the vii ˜ 7 / V with the ct ˜ 7 that embellishes the tonic because they are enharmonically equivalent and both chords are sometimes spelled enharmonically. Keep the following in mind: If the chord following the ˜ 7 chord is I or I 6 it should be analyzed as ct ˜ 7 . If the chord following the ˜ 7 chord is V or I 6 4 it should be analyzed as vii ˜ 7 /V. Common-tone diminished seventh chords may also be used to embellish secondary dominants. Mozart, Piano Sonata, K. 545, III College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell Aquila 1 of 2 www.pauldellaquila.com

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Transcript of The Common-Tone Diminished Seventh Chord 7 · PDF fileThe Common-Tone Diminished Seventh Chord...

The Common-Tone Diminished Seventh Chord

The Common-Tone Diminished Seventh ChordThe common-tone diminished seventh chord (ct˜7) does not function as a typical diminished seventh sonority.It is a chord of embellishment that usually progresses to a major triad or dominant seventh chord, the root ofwhich is the same as one of the notes of the ˜7 chord. Although the ct˜7 chord may embellish any triad or dominantseventh chord, it most often progresses to I or V7 in major (minor examples are rare).The ct˜7 chord may be spelled in any manner as long as one of the notes be the same as the root of the chord itembellishes. However, the ct ˜7 is usually spelled starting on the note an +2 above the chord it embellishes.Exceptions to this spelling can still be found in lead-sheet notation. In general, the ct ˜7 that embellishes I isspelled as a #ii˜7, and that which embellishes V as a #vi˜7.Because the ct˜7 has no theoretical root no inversion figures are necessary for analysis. Also, because the chordis a distinctly nonessential, embellishing chord that acts as a neighbor or passing sonority, the analytical symbolis often placed in parentheses.The ct˜ 7 chord is usually a complete sonority but it may also be found in incomplete versions.It is easy to confuse the vii˜7/V with the ct˜ 7 that embellishes the tonic because they are enharmonically equivalentand both chords are sometimes spelled enharmonically. Keep the following in mind: If the chord following the ˜7chord is I or I6 it should be analyzed as ct˜ 7. If the chord following the ˜7 chord is V or I64 it should be analyzedas vii˜7/V.Common-tone diminished seventh chords may also be used to embellish secondary dominants.

Mozart, Piano Sonata, K. 545, III

College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell Aquila1 of 2

www.pauldellaquila.com