Diminished triad

In music theory, a diminished triad (also known as the

minor flatted fifth) is a triad consisting of two minor thirds diminished triad
above the root.[3] It is a minor triad with a lowered (flattened) Component intervals from root
fifth. When using popular-music symbols, it is indicated by the diminished fifth (tritone)
symbols "dim", "o", "m ♭ 5", or "MI( ♭ 5)".[4] For example, the
minor third
diminished triad built on C, written as Co, has pitches C–E ♭–
G♭: root
Tuning
45:54:64;[1] 54:45=6:5 & 64:45[2]
Forte no. / Complement

The chord can be represented by the integer notation {0, 3, 6}. 3-10 / 9-10

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

Contents
Harmonic function
In popular music
Tuning
Diminished chord table
See also
Sources

Harmonic function

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♭). 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]

If the song is in a minor key, diminished triads can also be found on the raised seventh note, ♯viio.
This is because the ascending melodic minor scale has a raised sixth and seventh degree. For
example, the chord progression ♯viio–i is common.

The leading-tone diminished triad and supertonic diminished triad are usually found in first
inversion (viio6 and iio6, 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 iio with its members, 2–4–
♭6."[10] Songs that feature iio 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]

The viio in major keys is less common, but still exists. It is almost always used to tonicize the
relative minor, in progressions such as I–viio–V7/vi–vi. The viio–V7/vi–vi part of the progression
resembles iio–V7–i in the relative minor.

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 ♭) 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 ♭ = 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 Perfect , Preferred (5-limit major), or 5-limit minor on C.

 Comparison, in cents, of diminished
triad tunings

Sorge (perfect)/ Sorge (preferred)/ 5-limit minor

7-limit 5-limit major (D,F,A♭♭)

Harmonics

Root E 5 386.31 F♯+ 45 590.22 C♯ 135 92.18

Third G 6 701.96 A+ 54 905.87 E 160 386.31

Fifth B ♭ 7 968.83 C 64 1200 G 192 701.96

On B

Root B 15:8 1088.27 B 15:8 1088.27 B 15:8 1088.27

Third D 9:8 203.91 D 9:8 203.91 D- 10:9 182.40

Fifth F + 21:16 470.78 F 4:3 498.04 F 4:3 498.04

On C

Root C 1:1 0 C 1:1 0 C 1:1 0

Third E♭ 6:5 315.64 E♭ 6:5 315.64 E♭- 32:27 294.13

Fifth G ♭ 7:5 582.51 G♭- 64:45 609.78 G♭- 64:45 609.78

Diminished chord table

 Chord Root Minor third Diminished fifth

Cdim C E♭ G♭

C♯♯dim C♯ E G

D♭♭dim D♭ F♭ (E) A (G)

Ddim D F A♭

D♯♯dim D♯ F♯ A

E♭♭dim E♭ G♭ B (A)

Edim E G B♭

Fdim F A♭ C♭ (B)

F♯♯dim F♯ A C

G♭♭dim G♭ B (A) D (C)

Gdim G B♭ D♭

G♯♯dim G♯ B D

A♭♭dim A♭ C♭ (B) E (D)

Adim A C E♭

A♯♯dim A♯ C♯ E

B♭♭dim B♭ D♭ F♭ (E)

Bdim B D F

See also
Half-diminished seventh chord
Secondary leading-tone chord
Augmented triad
Diminished seventh chord

Sources
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. Benward; Saker (2003). Music: In Theory and Practice, Vol. I (7th ed.). p. 68. ISBN 978-0-07-
294262-0.
4. Benward & Saker (2003), p.77.
5. Jonas, Oswald (1982) [1934]. Das Wesen des musikalischen Kunstwerks: Eine Einführung in
Die Lehre Heinrich Schenkers (https://archive.org/details/introductiontoth0000jona/page/25)
[Introduction to the Theory of Heinrich Schenker]. Translated by Rothgeb, John. p. 25 (https://a
rchive.org/details/introductiontoth0000jona/page/25). ISBN 0-582-28227-6.
6. Roig-Francolí, Miguel (2011). Harmony in Context. New York: McGraw-Hill. p. 248.
ISBN 9780073137940.
 ISBN 9780073137940.
7. Roig-Francolí, Miguel (2011). Harmony in Context. New York: McGraw-Hill. p. 174.
ISBN 9780073137940.
8. Roig-Francolí, Miguel (2011). Harmony in Context. New York: McGraw-Hill. p. 248.
ISBN 9780073137940.
9. Benward; Saker (2009). Music in Theory and Practice: Volume II (8th ed.). p. 76. ISBN 978-0-
07-310188-0.
10. Everett, Walter (2009). The Foundations of Rock (https://archive.org/details/foundationsrockf00
ever_837). p. 195 (https://archive.org/details/foundationsrockf00ever_837/page/n211).
ISBN 978-0-19-531023-8.
11. Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis (https://archive.org/det
ails/whattolistenfori0000step/page/85). p. 85 (https://archive.org/details/whattolistenfori0000ste
p/page/85). ISBN 978-0-300-09239-4.
12. Fétis, François-Joseph; Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie (https://archiv
e.org/details/esquissedelhisto0000feti/page/139). p. 139n9 (https://archive.org/details/esquisse
delhisto0000feti/page/139). ISBN 978-0-945193-51-7.
13. Helmholtz, Hermann (1885). On the Sensations of Tone as a Physiological Basis for the
Theory of Music. Longmans, Green. p. 344.

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