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College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell Aquila The Common-Tone Diminished Seventh Chord 1 of 2 The Common-Tone Diminished Seventh Chord ˜ The common-tone diminished seventh chord (ct 7 ) does not function as a typical diminished seventh sonority. It is a chord of embellishment that usually progresses to a major triad ˜ or dominant seventh chord, the root of ˜ which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root of the chord it embellishes. However, the ct 7 is usually spelled starting on the note an + 2 above the˜ chord it embellishes. Exceptions to ˜this spelling can still be found in lead-sheet notation. In general, the ct 7 that embellishes I is ˜ 7 7 spelled as a # ii ˜ , and that which embellishes V as a # vi . Because the ct 7 has no theoretical root no inversion figures are necessary for analysis. Also, because the chord is a distinctly nonessential, embellishing chord that acts as a neighbor or passing sonority, the analytical symbol is often˜ placed in parentheses. The ct 7 chord is usually a˜ complete sonority ˜ but it may also be found in incomplete versions. It is easy to confuse the vii 7/V with the ct 7 that embellishes the tonic because they are enharmonically equivalent ˜ and both chords are sometimes spelled enharmonically. Keep the following in mind: If the chord following the 7 ˜ ˜ chord˜is I or I 6 it should be analyzed as ct 7. If the chord following the 7 chord is V or I 64 it should be analyzed 7 as vii /V. Common-tone diminished seventh chords may also be used to embellish secondary dominants. Mozart, Piano Sonata, K. 545, III www.pauldellaquila.com College-Conservatory of Music • University of Cincinnati • Instructor Paul Dell Aquila The Common-Tone Diminished Seventh Chord continued 2 of 2 Clara Wieck Schumann, Concert Variations, Op. 08, Var. 02 Tchaikovsky, Nutcracker Suite, “Waltz of the Flowers” (piano arrangement) Sousa, “Semper Fidelis” www.pauldellaquila.com