B Diminished - Revision history

Meambobbo: /* Diminished Fifth Interval */

2016-06-12T02:57:41Z

‎Diminished Fifth Interval

Meambobbo: /* Diminished Fifth Interval */

2016-06-12T02:54:34Z

‎Diminished Fifth Interval

Meambobbo at 01:36, 12 June 2015

2015-06-12T01:36:22Z

Meambobbo: /* Diminished Fifth Interval */

2015-03-29T05:59:38Z

‎Diminished Fifth Interval

Meambobbo: /* Full Circle Progression */

2015-03-29T05:58:22Z

‎Full Circle Progression

Meambobbo: /* Harmonic Function: Leading Chord */

2015-03-17T19:34:58Z

‎Harmonic Function: Leading Chord

Meambobbo: /* Harmonic Function: Leading Chord */

2015-03-17T19:34:00Z

‎Harmonic Function: Leading Chord

Meambobbo at 19:19, 17 March 2015

2015-03-17T19:19:18Z

Meambobbo: /* Diminished Fifth Interval */

2015-03-02T15:43:44Z

‎Diminished Fifth Interval

Meambobbo: /* Related Lessons */

2015-02-27T19:31:29Z

‎Related Lessons

@@ Line 99: / Line 99: @@
 |B Diminished#Diminished Fifth Interval|Dim 5th Interval}}
-The vii{{dim}} chord is the only diatonic chord in any major key to contain the diminished 5th interval.  Remember that the most harmonic interval (other than an octave) is the perfect fifth, represented by the simple ratio of 3:2.  By contrast, the diminished 5th has a ratio is 7:5.  Let's see all the intervals again:
+The vii{{dim}} chord is the only diatonic chord in any major key to contain the diminished 5th interval.  Remember that the most harmonic interval (other than an octave) is the perfect fifth, represented by the simple ratio of 3:2.  By contrast, the diminished 5th has a ratio is 45:32.  Let's see all the intervals again:
 {|class="wikitable"
@@ Line 127: / Line 127: @@
 |}
-As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples.  As we move away from the root/octave, the ratios seem to get more and more harmonic.  Yet, the d5 is a major departure from the general trend - it appears about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th.  As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
+As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples.  As we move away from the root/octave, the ratios seem to get more and more harmonic.  Yet, the d5 is a major departure from the general trend - it appears the least harmonious of all.  (Even in an alternate tuning where its ratio is a more harmonic 7:5 variation, it is about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th.)  As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
 It's quite apparent when playing the B{{dim}} chord.  This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself.  Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]].  Its half diminished variety (diatonic to the major, natural minor, and harmonic minor scales) actually adds consonance, which we will cover [[7th Chords#Half Diminished|later]].

@@ Line 114: / Line 114: @@
 | P4 || 4:3
 |-
-| '''d5''' || '''7:5'''
+| '''d5''' || '''45:32'''
 |-
 | P5 || 3:2
@@ Line 122: / Line 122: @@
 | M6 || 5:3
 |-
-| m7 || 16:9
+| m7 || 9:5
 |-
 | M7 || 15:8

@@ Line 1: / Line 1: @@
 {{Top-Level Crumbs|1}}
+{{Lesson Crumbs|2}}
 {{Intermediate Lesson Crumbs|1}}

@@ Line 129: / Line 129: @@
 As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples.  As we move away from the root/octave, the ratios seem to get more and more harmonic.  Yet, the d5 is a major departure from the general trend - it appears about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th.  As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
-It's quite apparent when playing the B{{dim}} chord.  This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself.  Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]].  Its half diminished (diatonic to the major, natural minor, and harmonic minor scales) variety actually adds consonance, which we will cover [[7th Chords#Half Diminished|later]].
+It's quite apparent when playing the B{{dim}} chord.  This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself.  Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]].  Its half diminished variety (diatonic to the major, natural minor, and harmonic minor scales) actually adds consonance, which we will cover [[7th Chords#Half Diminished|later]].
 {{top}}

@@ Line 81: / Line 81: @@
 Now that we know the vii{{dim}} chord, we can play the full circle progression in the key of C Major.
-   C   F   Bdim Em  Am  Dm  G   C
+    C     F     Bdim  Em    Am    Dm    G     C
-   I   IV  viio iii vi  ii  V   I
+    I     IV    viio  iii   vi    ii    V     I
-  E-0---1---1----0---0---1---3---0--
+  E--0-----1-----1-----0-----0-----1-----3-----0--
-  B-1---1---3----0---1---3---3---1--
+  B--1-----1-----3-----0-----1-----3-----3-----1--
-  G-0---2---x----0---2---2---0---0--
+  G--0-----2-----x-----0-----2-----2-----0-----0--
-  D-2---3---3----2---2---0---0---2--
+  D--2-----3-----3-----2-----2-----0-----0-----2--
-  A-3-------2----2---0-------2---3--
+  A--3-----------2-----2-----0-----------2-----3--
-  E--------------0-----------3------
+  E--------------------0-----------------3--------
 {{top}}

@@ Line 59: / Line 59: @@
 <small>''Where the {{dim}} symbol cannot be made, such as on a standard keyboard without using special character codes, or to avoid ambiguity, you can use "dim" (ex. Bdim) to indicate the diminished quality of the chord.  Then a half diminished 7th can be written as Bm7b5''.</small>
-The vii chord is called the '''leading chord'''.  Harmonically, it has a ''dominant'' function, sharing the leading tone and 2nd of the scale with the V chord.
+The vii chord is called the '''leading chord'''.  Harmonically, it has a ''dominant'' function, sharing the leading tone and 2nd of the scale with the V chord (B and D in the key of C Major).
      C     F/C    Bdim    C

@@ Line 55: / Line 55: @@
 |B Diminished#Diminished Fifth Interval|Dim 5th Interval}}
-B dim is diatonic to the key of C Major, using its 7th scale degree as the root note.  Thus, it is called the '''vii{{dim}} chord''' (or vii or viio when the {{dim}} symbol cannot be made).  The {{dim}} symbol indicates diminished, but you have to be careful - we are dealing with the diminished triad here, not the [[7th Chords#Half Diminished|diminished 7th]].  The diminished 7th chord has two variations - half and full.  Half is indicated with a slash through the {{dim}} symbol (B{{hdim}}{{7}}).  Full uses the normal symbol (B{{dim}}{{7}}).  ''Where the {{dim}} symbol cannot be made, such as on a standard keyboard without using special character codes, or to avoid ambiguity, you can use "dim" (ex. Bdim) to indicate the diminished quality of the chord.  Then a half diminished 7th can be written as Bm7b5''.
+B dim is diatonic to the key of C Major, using its 7th scale degree as the root note.  Thus, it is called the '''vii{{dim}} chord''' (or vii or viio when the {{dim}} symbol cannot be made).  The {{dim}} symbol indicates diminished, but you have to be careful - we are dealing with the diminished triad here, not the [[7th Chords#Half Diminished|diminished 7th]].  The diminished 7th chord has two variations - half and full.  Half is indicated with a slash through the {{dim}} symbol (B{{hdim}}{{7}}).  Full uses the normal symbol (B{{dim}}{{7}}).
 The vii chord is called the '''leading chord'''.  Harmonically, it has a ''dominant'' function, sharing the leading tone and 2nd of the scale with the V chord.

@@ Line 5: / Line 5: @@
 In the [[Contents#Beginner|beginner lessons]] we talked about all the diatonic chords diatonic to C Major except ''B Diminished''.  Time to cover it now.
-<u>Diminished Chords</u> are comprised of a root, its minor third, and its diminished 5th.  The distance between the minor third and the diminished fifth is also minor third, so the chord is composed of 2 minor thirds and 1 diminished fifth.  Diminished chords are often marked as using "dim" or {{dim}}, such as Bdim, B dim, or B{{dim}}.
+'''Diminished Chords''' are comprised of a root, its minor third, and its diminished 5th.  The distance between the minor third and the diminished fifth is also minor third, so the chord is composed of 2 minor thirds and 1 diminished fifth.  Diminished chords are often marked as using "dim" or {{dim}}, such as Bdim, B dim, or B{{dim}}.
 == PreReqs ==
@@ Line 19: / Line 19: @@
 |B Diminished#Diminished Fifth Interval|Dim 5th Interval}}
-<u>B Diminished</u> is composed of (B D F).  Although B and D occur as open strings, the common open position voicing avoids using them.  The G string is typically muted, as it offers no notes from the chord until the 4th fret, which pulls us out of open position.  You'll need to use your ring finger to mute the 3rd string when you strum this chord, so you don't hear the open G string.
+'''B Diminished''' is composed of (B D F).  Here are the common voicings in or near open position:
 {|
-! Root Pos.
+! Open Pos. !! 2nd Pos.
 |-
+|
@@ Line 30: / Line 30: @@
   '''F'''  ||-|-|r|-|
   '''B'''  ||-|m|-|-|
   ''' '''  ||-|-|-|-|
 |}
 Diminished triads tend to have pretty nasty shapes, and even vanilla B dim is no different.  If it's difficult, you can drop the high F with the index finger.
 {{top}}
@@ Line 44: / Line 55: @@
 |B Diminished#Diminished Fifth Interval|Dim 5th Interval}}
-B dim is diatonic to the key of C Major, using its 7th scale degree as the root note.  Thus, it is called the <u>vii</u> or <u>vii° chord</u>.  The ° indicates diminished, but you have to be careful - we are dealing with the diminished triad here, not the diminished seventh.  The Diminished 7th chord has two variations - half and full.  Half is indicated with a slash through the {{dim}} symbol ({{hdim}}.  ''Where the {{dim}} symbol cannot be made, such as on a standard keyboard, or to avoid ambiguity, you can use "dim" (ex. Bdim) to indicate the diminished quality of the chord.''
+B dim is diatonic to the key of C Major, using its 7th scale degree as the root note.  Thus, it is called the '''vii{{dim}} chord''' (or vii or viio when the {{dim}} symbol cannot be made).  The {{dim}} symbol indicates diminished, but you have to be careful - we are dealing with the diminished triad here, not the [[7th Chords#Half Diminished|diminished 7th]].  The diminished 7th chord has two variations - half and full.  Half is indicated with a slash through the {{dim}} symbol (B{{hdim}}{{7}}).  Full uses the normal symbol (B{{dim}}{{7}}).  ''Where the {{dim}} symbol cannot be made, such as on a standard keyboard without using special character codes, or to avoid ambiguity, you can use "dim" (ex. Bdim) to indicate the diminished quality of the chord.  Then a half diminished 7th can be written as Bm7b5''.
-The vii chord is called the <u>Leading Chord</u>.  Harmonically, it has a ''dominant'' function, sharing the leading tone and 2nd of the scale with the V chord.
+The vii chord is called the '''leading chord'''.  Harmonically, it has a ''dominant'' function, sharing the leading tone and 2nd of the scale with the V chord.
      C     F/C    Bdim    C
@@ Line 114: / Line 125: @@
 |}
-As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples.  Yet, the d5 is a major departure from the general trend - it appears about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th.  As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
+As you notice, the intervals closest to the root note or octave feature the larger integer numbers for their ratios and have the largest least common multiples.  As we move away from the root/octave, the ratios seem to get more and more harmonic.  Yet, the d5 is a major departure from the general trend - it appears about as harmonious as the minor 3rd and 6th, far from the perfect 4th and 5th.  As it serves as the replacement of the P5 in this chord, this immediately makes the chord quite dissonant.
-It's quite apparent when playing the B dim chord.  This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself.  Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]].  Its half diminished (diatonic to the major, natural minor, and harmonic minor scales) variety actually adds consonance, which we will cover later.
+It's quite apparent when playing the B{{dim}} chord.  This means the vii{{dim}} chord not only has tension in the context of the tonality and its placement inside a progression, but it is also quite dissonant and tense in and of itself.  Typically, we don't see diminished triads as frequently as [[7th Chords|7th]] or other [[Extended Chords|extended chords]].  Its half diminished (diatonic to the major, natural minor, and harmonic minor scales) variety actually adds consonance, which we will cover [[7th Chords#Half Diminished|later]].
 {{top}}

@@ Line 138: / Line 138: @@
 * [[Extended Chords]]
-<div class="item-wrap">
+{{top}}
-<div class="trail red">
-<span class="text current">[[B Diminished|B dim]]</span>
+{{Intermediate Lesson Crumbs|1}}
 [[Category:Guitar]]
@@ Line 163: / Line 149: @@
 [[Category:Open Position]]
 [[Category:Intervals]]