The Relationship Between The Diminished Seventh And The Half-Diminished Seventh Chord

We ’ ll be looking at the relationship between the diminished seventh and the half-diminished seventh harmonize .
I ’ ve come across respective musicians who would want to know the deviation between the diminished seventh harmonize and the half diminished one-seventh chords. Most times, I shy away from discussing this subject because it ’ s huge .
today, I ’ thousand answering that question. I ’ ll be showing you the structural and functional differences between the diminished one-seventh and half-diminished one-seventh chords.

sol let ’ s get started by looking at the morphologic similarities and differences between the atrophied seventh harmonize and the half-diminished seventh chord .

Structural Similarity/Difference Between The Diminished Chords

The diminished seventh chord and the half-diminished seventh harmonize consists of the like trio – the atrophied trio .
here are the B half-diminished seventh :

…chords .
Both of them have the B diminished three in coarse .
To the B diminished three :

…adding an A note :

…produces the B half-diminished one-seventh chord :

…while adding an Ab note :

…to the B diminished trio :

…produces the B diminished seventh chord :

Let ’ s go ahead and do a contrast between these two chords related by the decrease common chord .

The Scale Degree Position Of The Diminished Chords

The atrophied and half-diminished seventh chords are chords of the seventh degree .
Submission: The half diminished one-seventh chord can besides be found on the second gear degree of the natural child and harmonic minor scales, however, they don ’ t have the lapp consonant attribute of the atrophied chords of the seventh degree ( aka – “ leading bill chords “. ) The chords of the seventh degree have what music scholars call the leading note feel, which is the leaning to move towards the first tone of the scale – the pop .
The diminished seventh chord is the chord of the seventh degree in the minor identify, while the half-diminished seventh chord is the chord of the seventh degree in the major key, and both of them are leading note chords ( of the seventh degree ) that resolve to the tonic three .
In the keys of C major and minor, diminished chords formed on B ( the seventh tone ), have the inclination to resolve to C ( the beginning tone ) .

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The Leading Note Chord Of The Minor Key

In the case of the samara of C minor :

…we ’ rhenium using the harmonic minor scale because of the shortcomings of the natural minor scale .
Raising the one-seventh shade of the C natural minor plate ( which is Bb ) :

…to B :

…produces the C harmonic minor scale :

Forming a harmonize ( using tertian harmony ) on the seventh academic degree of the C harmonic minor scale ( which is B ) :

…just got easier using the pick-skip technique. here ’ s how it works…
Pick B :

…skip C and pick D :

…skip Eb and picking F :

…skip G and picking Ab :

The leading notice chord of the minor key is the belittled one-seventh chord. In the key of C minor, the leading note chord is the B diminished seventh harmonize .

The Leading Note Chord Of The Minor Key

The key of C major, which comprises of all white notes from C to C :

…has B as its one-seventh degree ( aka – “ leading bill ” )
Following the lapp pick-skip technique of harmonize formation, we can form its contribute note chord .
Pick B :

…skip C and clean D :

…skip E and choice F :

…skip G and pick A :

The half-diminished seventh chord is the chord of the seventh degree of the major keystone. In this case, we have the B half-diminished one-seventh chord :

…as the leading bill harmonize in the key of C major .
In a nutshell, the decrease seventh chord is the leading note chord of the minor key, while the half-diminished seventh chord is the leading eminence chord of the major key .

Resolution Of The Diminished Seventh Chord

Diminished chords are unstable and have the leaning to resolve to a more static chord. If used as the leading note chord, the decrease chord normally resolves to the tonic trio .

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Resolution Of The Half-diminished Seventh Chord

Considering that the half-diminished seventh chord is the leading note chord in the major key, it can be used as a pass chord to major chords.

When you ’ re given the C # half diminished seventh chord :

…which is a lead note harmonize to an stranger major chord .
The beginning of the strange major chord [ that the given half-diminished seventh harmonize resolves to ], is normally a half-step above the root of the given half-diminished seventh chord .
A half-step above C # :

…is D :

Therefore, the C # half-diminished seventh harmonize :

…resolves to the D major trio.

Conversely, if you ’ re given the D major common chord :

…all you need to do is vitamin a simple as determining its head note and forming a half-diminished seventh chord on the head notice .
due to the fact that the precede note is constantly a half step below a given bill, the leading note of D is C # :

…and consequently, the C # half-diminished seventh chord :

…would resolve to the D major common chord :

Resolution Of The Diminished Seventh Chord

The leading note chord in the minor key is the diminish one-seventh chord. Considering its affinity for the minor common chord, it can be used as a sink chord to minor chords .
“ Given the E diminished one-seventh chord :

…determine the minor chord it ’ mho resolving to. ”
The root of the unknown minor harmonize [ that the given diminished seventh chord resolves to ], is normally a half-step above the root of the given diminished one-seventh chord .
A half-step above east :

…is F :

Therefore, the E diminished one-seventh chord :

…resolves to the F minor trio :

Conversely, if you ’ re given the F minor common chord :

…all you need to do is arsenic simple as determining its lead note and forming a half-diminished one-seventh chord on the leading note .
due to the fact that the leading bill is constantly a half dance step below a given notice, the leading bill of F :

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…is E :

…and consequently, the E diminished seventh harmonize :

…would resolve to the F minor trio :

Diminished Chords As Upper Structure Chords

The half-diminished and diminished chords can be used as upper berth structure chords. The term upper structure is used by music scholars to refer to a chord that is played over another chord .

The Dominant Ninth Chord

Over any given eminence on the keyboard, if you go up a major third and form a half-diminished chord, you ’ ll kind an overall dominant one-ninth chord. Let me show you how this works .
In the key of G :

…a major third from G is B :

Playing a B half-diminished seventh :

…over G on the sea bass :

…produces the G dominant one-ninth chord :

Following the same routine in early keys would help you form the dominant allele ninth harmonize .

The Dominant Seventh [b9] Chord

Forming the diminished one-seventh chord on the one-third tone of the major scale of a given key, produces the dominant allele seventh ( flat one-ninth ) chord. hera ’ s how it works…
The third base shade of the C major scale :

…is E :

Playing an einsteinium diminished seventh chord :

…over C on the bass :

…produces the C dominant one-seventh ( flat ninth ) chord :

Click hera to learn more about how four dominant seventh flat ninth chords relate to each other .
In a nutshell, the half-diminished seventh chord is the upper social organization chord of the dominant allele one-ninth chord while the atrophied seventh chord is the amphetamine structure of the dominant allele seventh bland one-ninth .

Final Words

Leading note chords are not normally used because of their built-in academic degree of disagreement. however, this disagreement can be harnessed and used by rights .
The diminish and half-diminished seventh chords are all diminished chords, however, they have morphologic and functional similarities and differences.

See you in another post !

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