{"id":3959,"date":"2023-10-26T20:54:43","date_gmt":"2023-10-26T20:54:43","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/common-tone-diminished-seventh-cto7\/"},"modified":"2025-08-20T17:56:07","modified_gmt":"2025-08-20T17:56:07","slug":"common-tone-diminished-seventh-cto7","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/common-tone-diminished-seventh-cto7\/","title":{"raw":"Common-tone diminished seventh (CTo7)","rendered":"Common-tone diminished seventh (CTo7)"},"content":{"raw":"<div class=\"common-tone-diminished-seventh-(cto7)\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 48<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>The features and embellishing function of the [pb_glossary id=\"5099\"]common-tone fully diminished seventh chord (CTo7)[\/pb_glossary]<\/li>\r\n \t<li>How to identify the CTo7 in musical contexts<\/li>\r\n \t<li>How to connect the CTo7 smoothly in four-part [pb_glossary id=\"2799\"]SATB[\/pb_glossary] voice leading<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nThe [pb_glossary id=\"5099\"]common-tone fully diminished seventh chord[\/pb_glossary] (abbreviated as CTo7) is an embellishing chord that contains at least one tone in common with the chord(s) it embellishes. As you might guess from its name, its quality is fully diminished and it is spelled as a stack of minor thirds. Unlike other uses of the fully diminished seventh chord we have studied, the spelling of CTo7 chords is flexible. This means when studying a score, we need to be on the lookout for any possible enharmonic spelling of a fully diminished seventh chord that has an embellishing function. When writing a CTo7 in four-part [pb_glossary id=\"2799\"]SATB[\/pb_glossary] textures, you can spell the chord however you like, in whatever way seems to be the most logical given the context of the voice leading. Video T98 explores the CTo7 and its use in Exercise 48-1.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T98 CTo7 video (8:32)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/9grBti2dJnQ?si=lsXR5T6i8KB9HZQd\r\n<p class=\"import-Normal\">This video introduces the concept of the common-tone fully diminished seventh chord (CTo7), shows its basic features, illustrates its spelling and its function of embellishing major and minor triads, and examines its appearance in a Chopin nocturne (Worksheet example 48-1).<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1_InKJkT--ESFwRpXSkLIpzpio2HEExB_tU6qVmC5vog\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">CTo7 slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 48-1 Analysis with CTo7\"><\/a>EXERCISE 48-1 Analysis with CTo7<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 48-1 Analysis with CTo7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to the excerpt in Worksheet example 48-1. It uses many chords we have studied, including the CTo7, borrowed chords, an extended tertian chord, and an altered dominant. On the blanks beneath the staff, provide a Roman numeral analysis for mm. 1\u201310. Please note that a brief modulation (a [pb_glossary id=\"4711\"]tonal cell[\/pb_glossary]) occurs in mm. 8\u20139. Provide appropriate pivot chords where indicated.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 48\u20111. Frederic Chopin, Nocturne, op. 32, no. 2, mm. 1\u201310<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-856x1024.png\" alt=\"image of score with blanks beneath for Roman numerals\" width=\"856\" height=\"1024\" class=\"alignnone wp-image-5101 size-large\" \/><\/a>\r\n\r\nListen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/4VJk2zjAMy2Gp0cCDlHdll?si=7ddaaf91bfd24f98\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex48.1-Analysis-with-CTo7.pdf\">Ex48.1 Analysis with CTo7<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Summary of uses of the fully diminished seventh chord\"><\/a>Summary of uses of the fully diminished seventh chord<\/h1>\r\nThe fully diminished seventh chord has five primary uses, which we have studied. These include:\r\n<ol>\r\n \t<li>as a leading tone seventh chord (viio7) with dominant function, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/\" target=\"_blank\" rel=\"noopener\">chapter 16<\/a><\/li>\r\n \t<li>as a secondary leading tone seventh chord (viio7\/x where \"x\" is any major or minor triad), as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-diminished-chords\/\" target=\"_blank\" rel=\"noopener\">chapter 32<\/a><\/li>\r\n \t<li>as a means of modulation, using enharmonic reinterpretation, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-viio7-2\/\" target=\"_blank\" rel=\"noopener\">chapter 45<\/a><\/li>\r\n \t<li>as a means of modulation, using the flatting process, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/the-flatting-process-2\/\" target=\"_blank\" rel=\"noopener\">chapter 46<\/a><\/li>\r\n \t<li>as a common-tone fully diminished seventh chord (CTo7)<\/li>\r\n<\/ol>\r\nVideo T99 explores the different uses of the fully diminished seventh chord.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T99 Five things the o7 can do for you (4:59)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/tA97PErHX_4?si=byBuc_y6ZgjWEHss\r\n<p class=\"import-Normal\">This five-minute video shows five ways the fully diminished seventh chord can work in tonal contexts.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1DsCR6rUME7Afl5UG-YQZvDoc3tsxRQM6bDqA9E9JQFM\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Five things the o7 can do for you slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 48-2 Part writing resolutions with CTo7\"><\/a>EXERCISE 48-2 Part writing resolutions with CTo7<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 48-2 Part writing resolutions with CTo7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Provide a key and realize each of the following progressions in four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) following the principles for voice leading we have studied. Keep the common tone in the bass voice and make sure the soprano moves by step (not leap).<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-1024x557.png\" alt=\"image of four blank Grand Staffs, each with a key and a progression in Roman numerals that reads one, common-tone diminished seventh, one. The keys are: F major, C minor, E minor, and A major.\" width=\"1024\" height=\"557\" class=\"alignnone wp-image-3985 size-large\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex48.2-Part-writing-with-CTo7.pdf\">Ex48.2 Part writing with CTo7<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 48<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/common-tone-chords\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis's chapter on common-tone chords<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"common-tone-diminished-seventh-(cto7)\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 48<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>The features and embellishing function of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_5099\">common-tone fully diminished seventh chord (CTo7)<\/a><\/li>\n<li>How to identify the CTo7 in musical contexts<\/li>\n<li>How to connect the CTo7 smoothly in four-part <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_2799\">SATB<\/a> voice leading<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_5099\">common-tone fully diminished seventh chord<\/a> (abbreviated as CTo7) is an embellishing chord that contains at least one tone in common with the chord(s) it embellishes. As you might guess from its name, its quality is fully diminished and it is spelled as a stack of minor thirds. Unlike other uses of the fully diminished seventh chord we have studied, the spelling of CTo7 chords is flexible. This means when studying a score, we need to be on the lookout for any possible enharmonic spelling of a fully diminished seventh chord that has an embellishing function. When writing a CTo7 in four-part <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_2799\">SATB<\/a> textures, you can spell the chord however you like, in whatever way seems to be the most logical given the context of the voice leading. Video T98 explores the CTo7 and its use in Exercise 48-1.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T98 CTo7 video (8:32)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T98 Malawey&#39;s CTo7 video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/9grBti2dJnQ?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of the common-tone fully diminished seventh chord (CTo7), shows its basic features, illustrates its spelling and its function of embellishing major and minor triads, and examines its appearance in a Chopin nocturne (Worksheet example 48-1).<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1_InKJkT--ESFwRpXSkLIpzpio2HEExB_tU6qVmC5vog\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">CTo7 slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 48-1 Analysis with CTo7<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 48-1 Analysis with CTo7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to the excerpt in Worksheet example 48-1. It uses many chords we have studied, including the CTo7, borrowed chords, an extended tertian chord, and an altered dominant. On the blanks beneath the staff, provide a Roman numeral analysis for mm. 1\u201310. Please note that a brief modulation (a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_4711\">tonal cell<\/a>) occurs in mm. 8\u20139. Provide appropriate pivot chords where indicated.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 48\u20111. Frederic Chopin, Nocturne, op. 32, no. 2, mm. 1\u201310<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-856x1024.png\" alt=\"image of score with blanks beneath for Roman numerals\" width=\"856\" height=\"1024\" class=\"alignnone wp-image-5101 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-856x1024.png 856w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-251x300.png 251w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-768x919.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-1283x1536.png 1283w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-1711x2048.png 1711w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-65x78.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-225x269.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1-350x419.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-48.1.png 1849w\" sizes=\"auto, (max-width: 856px) 100vw, 856px\" \/><\/a><\/p>\n<p>Listen to the full track, performed by Daniel Barenboim, on <a href=\"https:\/\/open.spotify.com\/track\/4VJk2zjAMy2Gp0cCDlHdll?si=7ddaaf91bfd24f98\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex48.1-Analysis-with-CTo7.pdf\">Ex48.1 Analysis with CTo7<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Summary of uses of the fully diminished seventh chord<\/h1>\n<p>The fully diminished seventh chord has five primary uses, which we have studied. These include:<\/p>\n<ol>\n<li>as a leading tone seventh chord (viio7) with dominant function, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/\" target=\"_blank\" rel=\"noopener\">chapter 16<\/a><\/li>\n<li>as a secondary leading tone seventh chord (viio7\/x where &#8220;x&#8221; is any major or minor triad), as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-diminished-chords\/\" target=\"_blank\" rel=\"noopener\">chapter 32<\/a><\/li>\n<li>as a means of modulation, using enharmonic reinterpretation, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/enharmonic-reinterpretation-of-viio7-2\/\" target=\"_blank\" rel=\"noopener\">chapter 45<\/a><\/li>\n<li>as a means of modulation, using the flatting process, as studied in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/the-flatting-process-2\/\" target=\"_blank\" rel=\"noopener\">chapter 46<\/a><\/li>\n<li>as a common-tone fully diminished seventh chord (CTo7)<\/li>\n<\/ol>\n<p>Video T99 explores the different uses of the fully diminished seventh chord.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T99 Five things the o7 can do for you (4:59)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T99 Malawey&#39;s 5 Things the o7 Can Do For You\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/tA97PErHX_4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This five-minute video shows five ways the fully diminished seventh chord can work in tonal contexts.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1DsCR6rUME7Afl5UG-YQZvDoc3tsxRQM6bDqA9E9JQFM\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Five things the o7 can do for you slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 48-2 Part writing resolutions with CTo7<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 48-2 Part writing resolutions with CTo7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Provide a key and realize each of the following progressions in four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3959_2799\">SATB<\/a>) following the principles for voice leading we have studied. Keep the common tone in the bass voice and make sure the soprano moves by step (not leap).<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-1024x557.png\" alt=\"image of four blank Grand Staffs, each with a key and a progression in Roman numerals that reads one, common-tone diminished seventh, one. The keys are: F major, C minor, E minor, and A major.\" width=\"1024\" height=\"557\" class=\"alignnone wp-image-3985 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-1024x557.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-300x163.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-768x418.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-1536x836.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-65x35.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-225x122.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2-350x190.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/exercise-48.2.png 1888w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex48.2-Part-writing-with-CTo7.pdf\">Ex48.2 Part writing with CTo7<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 48<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/common-tone-chords\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis&#8217;s chapter on common-tone chords<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_3959_5099\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3959_5099\"><div tabindex=\"-1\"><p>an embellishing fully diminished seventh chord that contains at least one tone in common with the chord(s) it embellishes; abbreviated as CTo7<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3959_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3959_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3959_4711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3959_4711\"><div tabindex=\"-1\"><p>short passage of music in a new key, longer than a tonicization but not a full modulation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":48,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-3959","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3959","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":28,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3959\/revisions"}],"predecessor-version":[{"id":7179,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3959\/revisions\/7179"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3959\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=3959"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=3959"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=3959"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=3959"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}