When the F note goes a semitone down, it becomes E, and when the B note goes a semitone up, it becomes C. For example, the tritone of the G7 chord is between the F and B notes. When we play a tritone, the need arises for this “tense” interval to be resolved, and the expected resolution is to make each note of that tritone move one semitone. Maybe you are now confused, after all we have already stated that the diminished chord has two tritones, so how does the descending diminished not act with a dominant function? After all, it still has two tritones! Well, just as a reminder, the concept of tritones refers to a need for resolution. The descending diminished does not act with a dominant function, as it does not have the same tritone as the V7 chord, unlike the ascending diminished. Great, but can we use the ascending diminished and the descending diminished to resolve in any major or minor chord? Well, in theory, yes, but in practice it will not always sound good. In this case, the diminished chord is usually played a semitone above or below the chord you want to resolve, being called, respectively, ascending diminished and descending diminished. Ascending and descending diminished chordsĪnother application, and perhaps the most used, is to play the diminished chord to explore the chromatic approach effect. The auxiliary diminished slows down the resolution and provides a minimum harmonic movement, since it keeps the bass. When the diminished chord has the same bass (lowest note) as the chord it resolves, it is called the auxiliary diminished. Other application: The Auxiliary Diminished See an example of replacing the G7 chord with a diminished chord below: This is one of the applications of the diminished chord, to serve as a dominant chord option. You will see that the G7 tritone is present in the G#° chord, which makes this substitution possible. Here is an exercise for you: check the G#° notes and compare them with the G7 notes. For example, the G7 chord could be replaced by the G#° chord (or its equivalents B°, D° and F°). We can exchange the V7 chord for the diminished chord located one semitone above it. Well, if it hasn’t already been made clear, the diminished chord has a dominant function! Having two tritones is no small feat, is it?! So, we can use it to replace dominant chords (like the V7, for example).
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