Why don’t diminished 7 passing chords work going downhill?
Why Don’t Diminished 7 Passing Chords Work Going Downhill?
Introduction
Diminished 7 passing chords are a common harmonic tool used in music theory and composition. They are often employed to create smooth voice leading and add chromaticism to chord progressions. However, there is a specific limitation to the use of diminished 7 passing chords when it comes to descending progressions. In this article, we will explore the reasons behind this limitation and the factors that contribute to the ineffectiveness of diminished 7 passing chords when going downhill.
Diminished 7 Chords as Substitutes for Dominant Chords
Diminished 7 chords can be seen as substitutes for dominant chords, offering a similar function and tonality. These chords consist of four notes: the root, flattened third, flattened fifth, and double-flattened seventh. For example, a D#dim7 chord can be used as a substitute for a B7 chord. This substitution allows for harmonic variation and color in chord progressions.
Diminished 7 Passing Chords Going “Uphill”
Diminished 7 passing chords are commonly used to connect chords that are a fifth apart in a circle of fifths progression. When ascending in a circle of fifths progression, such as C to F, F to Bb, and so on, diminished 7 passing chords can be employed to create smooth voice leading and add harmonic interest. These passing chords serve as transitional elements that bridge the gap between two chords, creating a sense of tension and release.
Limitation of Diminished 7 Passing Chords Going “Downhill”
The limitation arises when attempting to use diminished 7 passing chords to connect chords that are a fifth apart in a descending progression. Diminished 7 passing chords do not work effectively in this context because they do not lead to the desired resolution. For example, using a D#dim7 chord to connect to a D chord does not create the desired V-I resolution.
The Nature of Diminished 7 Chords and Resolution Tendencies
The reason behind this limitation lies in the nature of diminished 7 chords and their tendency to resolve in specific ways. Diminished 7 chords contain dissonant intervals that create tension and a strong desire for resolution. In an ascending context, this tension can be effectively resolved by moving to a chord a fifth above. However, in a descending context, the resolution created by diminished 7 passing chords does not align with the expected harmonic motion.
Chromatic Voice Leading and Melodic Flow
Furthermore, diminished 7 passing chords are often used to create chromatic voice leading by moving individual chord tones by a half step. In a descending progression, the chromatic voice leading provided by diminished 7 passing chords can clash with the desired melodic contour and overall harmonic flow, leading to a less satisfying musical result.
Conclusion
While diminished 7 passing chords are valuable tools for connecting chords in ascending progressions, they have limitations when used in descending progressions. The dissonant nature of diminished 7 chords and their resolution tendencies do not align with the expected harmonic motion in a descending context. Understanding these limitations can help composers, arrangers, and improvisers make informed choices when utilizing diminished 7 passing chords in their musical compositions.
FAQs
What are diminished 7 passing chords?
Diminished 7 passing chords are transitional chords used to connect two chords that are a fifth apart. They are typically employed in ascending progressions.
Why are diminished 7 passing chords effective in ascending progressions?
Diminished 7 passing chords create smooth voice leading and add chromaticism in ascending progressions, such as in a circle of fifths progression. They enhance the harmonic motion and provide a sense of tension and release.
What is the limitation of diminished 7 passing chords in descending progressions?
Diminished 7 passing chords do not work effectively in descending progressions because they do not lead to the desired resolution. The resolution tendencies of diminished 7 chords do not align with the expected harmonic motion when going downhill.
Why don’t diminished 7 passing chords create the desired resolution in descending progressions?
The dissonant nature of diminished 7 chords creates tension and a strong desire for resolution. In an ascending context, this tension can be resolved by moving to a chord a fifth above. However, in a descending context, the resolution created by diminished 7 passing chords does not align with the expected harmonic motion.
How does the chromatic voice leading of diminished 7 passing chords affect descending progressions?
Diminished 7 passing chords often involve chromatic voice leading, where individual chord tones move by a half step. In descending progressions, this chromatic voice leading can clash with the desired melodic contour and overall harmonic flow, leading to less satisfying musical results.
Are there alternative chord choices for descending progressions?
Yes, there are alternative chord choices for descending progressions. Other chord substitution techniques, such as using altered chords, extended chords, or different voicings, can be explored to maintain smooth voice leading and create the desired harmonic motion.
Can diminished 7 passing chords be used creatively in descending progressions?
While diminished 7 passing chords may not work effectively in descending progressions, they can still be used creatively for harmonic variation and color. Experimenting with different resolutions or incorporating them in specific musical contexts can yield interesting and unique results.
How can understanding the limitation of diminished 7 passing chords benefit musicians?
Understanding the limitation of diminished 7 passing chords in descending progressions allows musicians to make informed choices when composing, arranging, or improvising. It helps them select appropriate chord progressions and substitutions that maintain the desired harmonic flow and resolution.