Skip to main content

View Diary: Thursday Classical Music Opus 112: Music For The Royal Fireworks (20 comments)

Comment Preferences

  •  ... On the topic of music more broadly... (10+ / 0-)

    I still haven't found, after about a year of bleating about this, a decent explanation of half-dim 7 chords beyond the usual "Here's how you make them and here's how you use them as II substitute" bullshit.

    And they continue to fascinate me.  I've spent hours and hours playing around with them on the new keyboard I got last December.  There are so many ways to resolve them, some of which sound very typical (like D-half-dim7 to G7 to C.  Or D-half-dim7 straight to C).  And other resolutions that sound very mystical and Expressionist (like simply D-half-dim7 to D7 and back).  

    The simplest resolutions are to another note of the same chord: F major, A flat major, or C major.  But F major, in particular, sounds incredibly dull as a resolution.  So dull it surprises me and intrigues me why it's so.

    Then there are resolutions to other chords not based on the chord or even the key.  Like in C major, going from D half dim 7 to E flat major works splendidly.  This basically, I think, treats the half-dim7 as II of Cminor, in which going to E-flat is a natural continuation.

    Other continuations get more exotic, but they work.  D half-dim7 to D flat major 7 to G7 to C.

    I'm interested though in how you get that cool romantic Debussy or Wagner sound out of them, though.  

Subscribe or Donate to support Daily Kos.

Click here for the mobile view of the site