Lesson ppp: Fully-Diminished Seventh Chords Introduction

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Conclusion:
Fully-diminished seventh chords are built by adding a diminished seventh to a diminished triad. They inherently contain two interlocking tritones (which may appear as diminished fifths or augmented fourths) which must be resolved carefully, particularly since one of them is inevitably emphasized by the bass. Typically, composers resolve the tritones by contrary motion: augmented fourths expanding outward to sixths, diminished fifths contracting inward to thirds. Occasionally, one of the tritones will resolve in similar motion to a perfect fourth or fifth, but that voiceleading is usually restricted to upper voices.
These chords, when built on the leading tone, include three strong tendency tones leading to pitches of the tonic triad. 7 is pulled upward to 1 while 4 and 6 are pulled down to 3 and 5, respectively. 2 resolves either to 1 or 3 depending on context.
While the chord can appear in any position, third-inversion fully-diminished chords are rare. With b6 in the bass, they tend to resolve to an auxiliary I

or a cadential

chord.
In addition to being used as auxiliary sonorities, fully-diminished seventh chords also appear as applied chords or as pivots in chromatic modulations. Their structure—evenly dividing the octave into minor thirds—makes it possible to interpret them enharmonically in four different keys: any of the four members can be heard as the root. That special property makes them particularly useful in modulations to distantly related keys.

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