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The half-diminished seventh chord is frequently used in passages that convey heightened emotion. For example, the "mournful affect" [5] of the sombre opening Chorus of J. S. Bach's St Matthew Passion (1727) features the chord on the seventh beat of its first bar and on the first beat of its third bar:
Added tone chord notation is useful with seventh chords to indicate partial extended chords, for example, C 7add 13, which indicates that the 13th is added to the 7th, but without the 9th and 11th. The use of 2, 4, and 6 rather than 9, 11, and 13 indicates that the chord does not include a seventh unless explicitly specified.
Diminished seventh chords may also be rooted on scale degrees other than the leading-tone, either as secondary function chords temporarily borrowed from other keys, or as appoggiatura chords: a chord rooted on the raised second scale degree (D ♯ –F ♯ –A–C in the key of C) acts as an appoggiatura to the tonic (C major) chord, and one ...
[b] In 1918, critic Charles L. Buchanan described Ornstein's innovation: "[He] gives us masses of shrill, hard dissonances, chords consisting of anywhere from eight to a dozen notes made up of half tones heaped one upon another." [29] Clusters were also beginning to appear in more pieces by European composers.
Equal chords are subtended by equal angles from the center of the circle. A chord that passes through the center of a circle is called a diameter and is the longest chord of that specific circle. If the line extensions (secant lines) of chords AB and CD intersect at a point P, then their lengths satisfy AP·PB = CP·PD (power of a point theorem).
Tonic and tonic counter parallel in C major: CM and Em chords Play ⓘ. Tonic and tonic counter parallel in C minor: Cm and A ♭ M chords Play ⓘ. Contrast chord example Play ⓘ: C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in ...
A chord's perpendicular bisector passes through the center of the circle and bisects the angle. One half of the bisected chord is the sine of one half the bisected angle, that is, [13] = , and consequently the sine function is also known as the half-chord.
The half diminished scale is a seven-note musical scale. It is more commonly known as the Locrian ♯ 2 scale [ 1 ] or the Aeolian ♭ 5 scale , names that avoid confusion with the diminished scale and the half-diminished seventh chord (minor seventh, diminished fifth).