6

I am currently writing a guide to use of diminished chords as linking chords in a diatonic progression in the key of G major.

I have used the progression "Gmaj7 - G#dim - Am7 - A#dim - Bm7".

It occurs to me that one could equally write the above progression with the enharmonic equivalents "Gmaj7 - Abdim - Am7 - Bbdim - Bm7".

Could somebody please tell me which of these is more correct and why?

EDIT: Thanks for your responses so far. I also go on to use an example of descending chromatic links using dominant chords, eg "Bm7 - Bb7 - Am7 - Ab7 - Gmaj7". Would you agree that is better to name them as such when used in a descending example?

Thanks!

Improve this question
2
  • Funnily enough I was going to ask the same question, having come across the same dim chord named two ways in different parts of the same piece. And also, dim chords named, e.g. C#dim, but written in the dots with a Db. Let's hope someone can explain, or maybe it's just poor writing... You could even have used Bo, Do or Fo in place of G#o.
    – Tim
    Dec 14, 2017 at 15:49
  • Corollary question - is it preferable/necessary to use the quoted note as the lowest (root) when playing? And, how about keeping the names to the actual diatonic names from the current key?
    – Tim
    Dec 14, 2017 at 16:51

2 Answers 2

Reset to default
11

I always recommend naming/labeling chords to show how they function.

In this case, the G♯ diminished chord is best understood as tonicizing the next A chord. Since the G♯ chord is functioning as vii°7/A, I think it's best to spell this chord as G♯ (the seventh scale degree of A) to make that clear; spelling it as A♭, B, D, or F makes this connection much less obvious.

Similarly, the A♯ diminished chord is really functioning as vii°7/B, so it's best to spell it as A♯ instead of B♭ or anything else.

And there's an added bonus here: spelling the chords this way makes it clear the ascending chromatic line of the roots G-G♯-A-A♯-B.

Improve this answer
2
  • 1
    Yes, I'm inclined to agree- I suppose I'd spell it as Bb if I were using it in a descending chord progression of some sort.
    – Guitarguy
    Dec 14, 2017 at 16:18
  • Definitely agree with Richard here. As an aside, these chords are also known as "secondary leading-tone chords". The only examples where accidentals might take precedence over showing function might be: there is no harmonic function present (not applicable to your example), player readability (avoiding awkward intervals), or perhaps to indicate longer-range voice-leading, showing linear motion / direction of either voices within a texture and /or voices in other instruments.
    – jjmusicnotes
    Dec 14, 2017 at 17:41
2

I'd say the version with G#dim and A#dim is more correct, as each diminished chord is easily interpreted as a secondary dominant (the first of the Am7 that follows it, the second of the Bm7 that follows it). G# is the leading tone of A and A# is the leading tone of B, so they fit.

Improve this answer
0

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge that you have read and understand our privacy policy and code of conduct.

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