Editing Diminished triad (section)

==In popular music==

Walter Everett writes that "In [[Rock music|rock]] and [[Pop music|pop]] music, the diminished triad nearly always appears on the second scale degree, forming a generally maudlin and dejected ii{{music|dim}} with its members, 2–4–{{music|b}}6."<ref name="Everett">{{cite book|title=The Foundations of Rock|url=https://archive.org/details/foundationsrockf00ever_837|url-access=limited|last=Everett|first=Walter|date=2009|isbn=978-0-19-531023-8|page=[https://archive.org/details/foundationsrockf00ever_837/page/n211 195]|publisher=Oxford University Press, USA }}</ref> Songs that feature ii{{music|dim}} include [[Santo & Johnny]]'s "[[Sleep Walk]]", [[Jay and the Americans]]' "[[Cara Mia]]", and [[the Hollies]]' "[[The Air That I Breathe]]".<ref name="Everett" /> Not so rare but rare enough so as to imply knowledge of and conscious avoidance on the part of rock musicians, examples of its use include [[Oasis (band)|Oasis]]' "[[Don't Look Back in Anger]]", [[David Bowie]]'s "[[Space Oddity]]", and two in [[Daryl Hall]]'s "[[Everytime You Go Away]]".<ref name="Stephenson">{{cite book|title=What to Listen for in Rock: A Stylistic Analysis|last=Stephenson|first=Ken|date=2002|isbn=978-0-300-09239-4|page=[https://archive.org/details/whattolistenfori0000step/page/85 85]|publisher=Yale University Press |url=https://archive.org/details/whattolistenfori0000step/page/85}}</ref>

The vii{{music|dim}} in major keys is relatively less common than the ii{{music|dim}}, but still does happen. It is almost always used to [[Tonicization|tonicize]] the relative minor, in progressions such as vii{{music|dim}}–V<sup>7</sup>/vi–vi, which resembles ii{{music|dim}}–V<sup>7</sup>–i in the relative minor.