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Using As you notice, the denominator method of analyzing intervals, we get closest to the root note or octave feature the highest numbers on their ratios and have the following order from most harmonic to largest least: P5, P4, M6, M3, m3, m6, 7, M2, M7common multiples. Yet, the d5is a major departure from the general trend. The d5 is As it serves as the replacement of the least harmonicP5 in this chord, and itthis 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 commonly frequently as diminished 7th or other extended chords. With the additional noteIts half diminished (s) in diatonic to the chordmajor, natural minor, the d5 interval is more diluted and the overall effect is less dissonantharmonic minor scales) variety actually adds consonance.
→Diminished Fifth Interval
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The vii 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 457:32. The smaller the denominator, the more harmonic the interval5. Let's see all the intervals:
{|class="wikitable"
! Interval Name !! Ratio
|-
| m2 || 16:15
|-
| M2 || 9:8
|-
| m3 || 6:5
|-
| M3 || 5:4
|-
| P4 || 4:3
|-
| d5 || 7:5
|-
| P5 || 3:2
|-
| m6 || 8:5
|-
| M6 || 5:3
|-
| m7 || 16:9
|}
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