Half-Diminished Seventh Chords and Their Contexts
Bibliographic Data
| ID | 4315954 |
|---|---|
| Authors | Philip Lambert (0000-0002-0410-833X, Baruch College, corresponding author) |
| Year | 2020 |
| Volume | 39 |
| Issue | 3 |
| Pages | 277-313 |
| Publication date | 2020-10-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Analysis (JOURNAL) |
| Journal identifiers | ISSN: 0262-5245 • E-ISSN: 1468-2249 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/musa.12154 |
| OpenAlex | W3130936736 |
| Language | EN |
| Citations received | 3 |
| References cited | 20 |
A comprehensive theory of half-diminished seventh chord usages recognises the potential of the chord's outer pitches to move in one of four ways: wedging inward, wedging outward, with the root as the common tone or with the seventh as the common tone. Typical destination chords are major and minor triads but can also be seventh chords, as in the opening phrase of Wagner's Prelude to Act 1 of Tristan und Isolde. Examples from the music of Berlioz, Brahms, Chopin, Debussy, Dvořák, Grieg, Liszt, Tchaikovsky, Richard Strauss and Wagner demonstrate the full range of possibilities and some artistic contexts. Extended implementations of half-diminished harmonies include the Finale of Tchaikovsky's Sixth Symphony, the interlude between Scenes 2 and 3 of Act 1 of Wagner's Götterdämmerung and Debussy's Pelléas et Mélisande
Art · Linguistics · Literature · Musical · Phrase · Symphony · Computer Science · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy · Theater, Performance, and Music History
| Unique citing works | 3 |
|---|---|
| Citations per year | 0.6 |
| Citation span | 2021 - 2022 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |