diatonic triad

Secondary leading-tone chords may resolve to either a major or minor diatonic triad:

This means, for example, that some diatonic triad must be selected as the "dominant" of the diminished triad on vii.

(Certainly, no diatonic triad is ordinarily considered the dominant of the diminished triad.)

For diatonic triads:

Though he employed a proper 12-tone row in the composition, the pitches in the series trace several diatonic triads, resulting in a harmonic language that wondrously bridges tonal and atonal sound spheres.

Diatonic triads and seventh chords possess second-order maximal evenness, being maximally even in regard to the maximally even diatonic scale but are not maximally even with regard to the chromatic scale.

A continuation of MUS 100 adding the study of harmonic progression, non-harmonic tones, secondary diatonic triads, dominant seventh and supertonic seventh chords, melodies, harmonic sequence, secondary dominant chords and elementary modulation.

For example, if the space S is the space of diatonic triads (represented by the Roman numerals I, ii, iii, IV, V, vi, and vii ), the "Dominant transformation" must be defined so as to apply to each of these triads.

It is frequently encountered, especially in jazz, as a diminished seventh chord with an appoggiatura, especially when the melody has the leading note of the given chord: the ability to resolve this dissonance smoothly to a diatonic triad with the same root allows it to be used as a temporary tension before tonic resolution.