Ofcourse. And you also have the symetrical nature of the diminished and augmented triads! So chaining them together with their inversions can be great for building up tension.Chuck E. Jesus wrote:now this is the kind of stuff i could use more of at KVR....nyquil_man wrote:Notice the popularity of the diminished chord in the 19th century. The diminished seven is essentially four potential leading tones; it can lead to any of them logically. A diminished chord built on F, G-sharp, B, and D could resolve to F-sharp Major, A Major, C Major, or E-flat Major or to any of their relative minors.tee boy wrote: The greater the dissonance, higher the tension and therefore greater resolution required. Its science really. How you impliment it is the art!
That's what gives it such power; in itself, it's a weak, ambiguous chord. But it's in a position to go anywhere and do anything. Pile on a series of diminished chords one after another and the ambiguity increases.
Notice the popularity of the diminished chord in the 19th century. The diminished seven is essentially four potential leading tones; it can lead to any of them logically. A diminished chord built on F, G-sharp, B, and D could resolve to F-sharp Major, A Major, C Major, or E-flat Major or to any of their relative minors.
That's what gives it such power; in itself, it's a weak, ambiguous chord. But it's in a position to go anywhere and do anything. Pile on a series of diminished chords one after another and the ambiguity increases.
more talk of diminshed chords please...i grew up playing barre chords and as a middle aged person i'm just learning chord progressions and such...it's fun to learn this stuff...
TB