2

The question below is referred to W. Leavitt - Getting up there (duet), Vol. 2

The piece is in key of C. In the last system, upper staff, we have the following chord progression:

C A-6 A-7 F Gdim G7 C

In terms of functional harmony, what role does that Gdim play?

I found:

I VI6 VI7 IV Gdim? V7 I

Thank you for your supportenter image description here

  • Appears to be for guitar(s). – Owain Evans Aug 29 at 0:15
1

Steven Laitz calls this a common-tone diminished seventh chord, which is labeled "c.t.o7 to distinguish it from other uses of diminished chords.1 (See also Wikipedia's Diminshed Seventh chord: other functions.) Its function is to "maintain the root of the harmony they extend".2 Here is a reproduction of Laitz's Example 35.17A, which illustrates the process:

X:0
T:Steven Laitz, The Complete Musician, 2008
T:Example 35.17A (p. 820)
K:A
M:none
L:1/4
%%score V1 (V2 V3)
[V:V1] y E y E- y E
[V:V2 clef=bass] y [A,C] y [=G,C] y [^G,D]
[V:V3 clef=bass] "_A:"y A,, y ^A,, y B,,
s: I c.t.o7/V V

1 Laitz, Steven G, 2008, The complete musician, New York: Oxford University Press, p. 820. Laitz is not alone in this. For example, see Aldwell, Edward, and Carl Schachter, 1989, Harmony and voice leading, Fort Worth: Harcourt Brace Jovanovich College Publishers, pp. 516-519.
2 Ibid. (Laitz's italics).

| improve this answer | |
  • Reading the resource you kindly provided, I find that in the case of my example that G°7 chord (or Bb°7 chord) is the #vi°7 resolving to V7. Is it right? – LeoAn Aug 29 at 10:19

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service, privacy policy and cookie policy

Not the answer you're looking for? Browse other questions tagged or ask your own question.