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The leading-tone seventh chords are vii ø 7 and vii o 7, [24] the half-diminished and diminished seventh chords on the seventh scale degree of the major and harmonic minor. For example, in C major and C minor, the leading-tone seventh chords are B half-diminished (B–D–F–A) and B diminished (B–D–F–A ♭), respectively.
C minor is a minor scale based on C, consisting of the pitches C, D, E ...
Lower mediant, midway between tonic and subdominant, (in major key) tonic of relative minor key F ♯ F 8-9 7 Subtonic (minor seventh) Mixolydian One whole step below tonic in natural minor scale. G 10 Leading tone (major seventh) Locrian: One half step below tonic. Melodically strong affinity for and leads to tonic G ♯ 11 1 Tonic (octave ...
In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B ø 7 in C major) and is thus a leading-tone seventh chord in the major mode. [3] Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D ø 7 in C minor). It has been described ...
The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. [2] The chord notation for the diminished seventh chord (assuming root C) is Cdim 7 or C o 7 (or Cm 6 ♭ 5 for the enharmonic variant).
The root of the minor triad is thus considered the top of the fifth, which, in the United States, is called the fifth. So in C minor, the tonic is actually G and the leading tone is A ♭ (a half step), rather than, in major, the root being C and the leading tone
While the root of a secondary leading-tone chord needs to be the leading-tone, the other notes may vary and form with it one of: the triad [23] or one of the diminished sevenths (as in seventh scale degree [23] or leading-tone, not necessarily seventh chord) where the type of the diminished seventh is typically related to the type of tonicized ...
In practice, in a minor key, the third of the dominant chord is often raised by one semitone to form a major chord (or a dominant seventh chord if the seventh is added). In addition, the seventh degree of the major scale (i.e. the leading tone) forms a diminished chord (vii o). [4]