"\u0417\u043C\u0435\u043D\u0448\u0435\u043D\u0438\u0439 \u0442\u0440\u0438\u0437\u0432\u0443\u043A \u2014 \u0442\u0440\u0438\u0437\u0432\u0443\u043A, \u0449\u043E \u0441\u043A\u043B\u0430\u0434\u0430\u0454\u0442\u044C\u0441\u044F \u0437 \u0434\u0432\u043E\u0445 \u043C\u0430\u043B\u0438\u0445 \u0442\u0435\u0440\u0446\u0456\u0439, \u043C\u0456\u0436 \u043A\u0440\u0430\u0439\u043D\u0456\u043C\u0438 \u0437\u0432\u0443\u043A\u0430\u043C\u0438 \u044F\u043A\u043E\u0433\u043E \u0443\u0442\u0432\u043E\u0440\u044E\u0454\u0442\u044C\u0441\u044F \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B \u0437\u043C\u0435\u043D\u0448\u0435\u043D\u043E\u0457 \u043A\u0432\u0456\u043D\u0442\u0438."@uk . . . . . . . . . . "Diminished triad"@en . "En la teoria de la m\u00FAsica, un acord de quinta disminu\u00EFda, tamb\u00E9 anomenat tr\u00EDada disminu\u00EFda, \u00E9s un acord que consta d'una quinta disminu\u00EFda i una tercera menor. Tamb\u00E9 es pot veure com un acord amb dues terceres menors. Si el constru\u00EFm sobre la nota Do, l'acord disminu\u00EFt estaria format per les notes do, mi\u266D i sol\u266D."@ca . . "In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered (flattened) fifth. When using chord symbols, it may be indicated by the symbols \"dim\", \"o\", \"m\u266D5\", or \"MI(\u266D5)\". However, in most popular-music chord books, the symbol \"dim\" and \"o\" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the \"dim7\" or \"o7\" symbols. For example, the diminished triad built on C, written as Co, has pitches C\u2013E\u266D\u2013G\u266D:"@en . "\u6E1B\u4E09\u548C\u97F3"@ja . "Acord de quinta disminu\u00EFda"@ca . . . "Dimackord (fr\u00E5n engelskans diminished, f\u00F6rminskad), betecknar ibland treklanger, ibland fyrklanger, uppbyggda genom stapling av sm\u00E5 terser. Dim7-ackord \u00E4r en fyrklang som \u00E4ven kallas helf\u00F6rminskat septimackord. Exempelvis \u00E4r Cdim7 ett C7-ackord d\u00E4r alla toner utom grundtonen har s\u00E4nkts ett halvtonssteg. Det best\u00E5r s\u00E5ledes av tonerna c, ess, gess och bessess (klingande a). Ackordet hade i teorin kunnat skrivas Cm6\u20135, men betecknas C\u00B07 eller Cdim7. Notera att avst\u00E5ndet \u00E4r en liten ters, dvs tre halvtonssteg, mellan varje ton i denna fyrklang. Denna symmetri g\u00F6r att det bara finns tre dim7-ackord, men med olika grundtoner. C\u00B07 best\u00E5r n\u00E4mligen av samma toner som E\u266D\u00B07, G\u266D\u00B07 och A\u00B07, men med grundtonen C. P\u00E5 samma s\u00E4tt best\u00E5r ackorden C\u266F\u00B07, E\u00B07, G\u00B07 och A\u266F\u00B07 av samma toner, men har olika grundton. Slutligen \u00E4r D\u00B07, F\u00B07, G\u266F\u00B07 och B\u00B07 samma ackord, men med olika grundton. I vissa b\u00F6cker, bland annat flertalet vis- och popnotb\u00F6cker, kallas ovanst\u00E5ende fyrklang f\u00F6r dimackord, och betecknas Cdim eller C\u00B0. I andra b\u00F6cker, fr\u00E4mst inom musikteori f\u00F6r klassisk musik och jazzmusik, skiljer man mellan dim7-ackord och dim-ackord, d\u00E4r det senare \u00E4r en dimtreklang - en f\u00F6rminskad durtreklang. C\u00B0 eller Cdim betecknar i detta sammanhang ett f\u00F6rminskat C-durackord, d\u00E4r alla toner utom grundtonen s\u00E4nkts en halvtonssteg, och best\u00E5r s\u00E5ledes av tonerna c, ess, och gess. Alternativt kan denna treklang betecknas Cm-5 eller Cm\u266D5. I ett halvf\u00F6rminskat septimackord, som betecknas C\u00D87 eller Cm7\u266D5, \u00E4r alla toner utom grundtonen och septiman s\u00E4nkta ett halvtonssteg. I fallet C\u00D87 blir s\u00E5ledes tonerna c, ess, gess och bess. R\u00E4knat fr\u00E5n bastonen best\u00E5r dim-treklangen av: grundton, liten ters, f\u00F6rminskad kvint. En dim7-fyrklang inneh\u00E5ller dessutom en stor sext (detta intervall kallas ibland \u00E4ven f\u00F6rminskad septima). Ett halvf\u00F6rminskat septimackord (\u00D87) inneh\u00E5ller ist\u00E4llet en liten septima. Notera att ackordet C7-9 eller C7\u266D9 (ett septimackord med f\u00F6rminskad nona) kan betraktas som ett D\u266D\u00B07/C, dvs som en dimfyrklang best\u00E5ende av tonerna D\u266D, E, G och B\u266D, men med basen C."@sv . . . "Un accord de quinte diminu\u00E9e (pouvant \u00EAtre not\u00E9 m\u266D5), est un accord de trois notes compos\u00E9 d'une fondamentale, d'une tierce mineure, c'est-\u00E0-dire un ton et un demi-ton diatonique au-dessus de la fondamentale, et d'une quinte diminu\u00E9e, c'est-\u00E0-dire une quinte juste diminu\u00E9e d'un demi-ton chromatique, soit deux tons et deux demi-tons diatoniques au-dessus de la fondamentale. Il peut \u00E9galement \u00EAtre not\u00E9 Cdim, ou C\u00B0 selon la notation moderne abr\u00E9g\u00E9e. Exemple avec un accord de do diminu\u00E9 : La lecture audio n'est pas prise en charge dans votre navigateur. Vous pouvez ."@fr . "diminished triad"@en . . . . . . . . "45"^^ . . "\uAC103\uD654\uC74C(\u6E1B\u4E09\u548C\u97F3, Diminished triad)\uC740 \uADFC\uC74C\uC5D0 \uB2E83\uB3C4, \uAC105\uB3C4\uB97C \uC313\uC544 \uB9CC\uB4E0 3\uD654\uC74C\uC774\uB2E4. \uAE30\uD638\uB85C \u25CBdim \uB610\uB294 \u25CBm(\u266D5)\uB97C \uC0AC\uC6A9\uD55C\uB2E4. (\u25CB\uC740 \uADFC\uC74C\uC744 \uC758\uBBF8)"@ko . . "\u0417\u043C\u0435\u043D\u0448\u0435\u043D\u0438\u0439 \u0442\u0440\u0438\u0437\u0432\u0443\u043A"@uk . . . . . . "\u0423\u043C\u0435\u043D\u044C\u0448\u0451\u043D\u043D\u043E\u0435 \u0442\u0440\u0435\u0437\u0432\u0443\u0447\u0438\u0435 \u2014 \u0442\u0440\u0435\u0437\u0432\u0443\u0447\u0438\u0435, \u0441\u043E\u0441\u0442\u043E\u044F\u0449\u0435\u0435 \u0438\u0437 \u0434\u0432\u0443\u0445 \u043C\u0430\u043B\u044B\u0445 \u0442\u0435\u0440\u0446\u0438\u0439, \u043C\u0435\u0436\u0434\u0443 \u043A\u0440\u0430\u0439\u043D\u0438\u043C\u0438 \u0437\u0432\u0443\u043A\u0430\u043C\u0438 \u043A\u043E\u0442\u043E\u0440\u043E\u0433\u043E \u043E\u0431\u0440\u0430\u0437\u0443\u0435\u0442\u0441\u044F \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B \u0443\u043C\u0435\u043D\u044C\u0448\u0451\u043D\u043D\u043E\u0439 \u043A\u0432\u0438\u043D\u0442\u044B."@ru . "In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered (flattened) fifth. When using chord symbols, it may be indicated by the symbols \"dim\", \"o\", \"m\u266D5\", or \"MI(\u266D5)\". However, in most popular-music chord books, the symbol \"dim\" and \"o\" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the \"dim7\" or \"o7\" symbols. For example, the diminished triad built on C, written as Co, has pitches C\u2013E\u266D\u2013G\u266D: Audio playback is not supported in your browser. You can . The chord can be represented by the integer notation {0, 3, 6}. In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone)."@en . . "\u6E1B\u4E09\u548C\u5F26"@zh . . "Zmen\u0161en\u00FD kvintakord je alterovan\u00FD kvintakord charakteristick\u00FD zmen\u0161enou kvintou. Je pou\u017E\u00EDv\u00E1n jako pr\u016Fchodn\u00FD akord - ve skladb\u00E1ch obvykle nepln\u00ED \u017E\u00E1dnou ze z\u00E1kladn\u00EDch harmonick\u00FDch funkc\u00ED. Jedn\u00E1 se o trojzvuk, kter\u00FD sest\u00E1v\u00E1 ze z\u00E1kladn\u00EDho t\u00F3nu, mal\u00E9 tercie a zmen\u0161en\u00E9 kvinty, nebo tak\u00E9 dvou mal\u00FDch terci\u00ED nad sebou. Zna\u010D\u00ED se obvykle velk\u00FDm p\u00EDsmenem ozna\u010Duj\u00EDc\u00EDm z\u00E1kladn\u00ED t\u00F3n dopln\u011Bn\u00FDm o p\u0159\u00EDponu mi nebo m (vyzna\u010Duj\u00EDc\u00ED malou tercii a tedy mollov\u00FD charakter akordu) a o horn\u00ED index 5- (vyzna\u010Duj\u00EDc\u00ED alterovanou - zmen\u0161enou kvintu): \n* \n*"@cs . . . . . "Dimackord"@sv . "\u6E1B\u4E09\u548C\u97F3\uFF08\u3052\u3093\u3055\u3093\u308F\u304A\u3093\u3001\u82F1\u8A9E: diminished triad\uFF09\u3068\u306F\u3001\u97F3\u697D\u306E\u548C\u97F3\u306E\u4E00\u7A2E\u3067\u3042\u308B\u3002\u30DD\u30D4\u30E5\u30E9\u30FC\u97F3\u697D\u3067\u306F\u30DE\u30A4\u30CA\u30FC\u30FB\u30D5\u30E9\u30C3\u30C8\u30FB\u30D5\u30A3\u30D5\u30B9 (\u82F1\u8A9E: minor flatted fifth) \u3068\u3082\u547C\u3070\u308C\u308B\u3002"@ja . . "Un accord de quinte diminu\u00E9e (pouvant \u00EAtre not\u00E9 m\u266D5), est un accord de trois notes compos\u00E9 d'une fondamentale, d'une tierce mineure, c'est-\u00E0-dire un ton et un demi-ton diatonique au-dessus de la fondamentale, et d'une quinte diminu\u00E9e, c'est-\u00E0-dire une quinte juste diminu\u00E9e d'un demi-ton chromatique, soit deux tons et deux demi-tons diatoniques au-dessus de la fondamentale. Il peut \u00E9galement \u00EAtre not\u00E9 Cdim, ou C\u00B0 selon la notation moderne abr\u00E9g\u00E9e. Exemple avec un accord de do diminu\u00E9 : La lecture audio n'est pas prise en charge dans votre navigateur. Vous pouvez . On peut \u00E9galement ajouter une note suppl\u00E9mentaire situ\u00E9e une sixte majeure au-dessus de la fondamentale pour former un accord diminu\u00E9 complet, \u00E0 quatre sons : Exemple avec un accord de do diminu\u00E9 : La lecture audio n'est pas prise en charge dans votre navigateur. Vous pouvez ."@fr . . . "A tr\u00EDade diminuta \u00E9 formada pela nota fundamental, pela ter\u00E7a menor (1,5 tons da fundamental) e pela 5a diminuta (3 tons da fundamental), e consiste no empilhamento de duas ter\u00E7as menores (3a menor + 3a menor). Pode ser representado pelos s\u00EDmbolos \"dim\", \"o\", \"m\u266D5\", or \"MI(\u266D5)\". Por exemplo, a tr\u00EDade diminuta em D\u00F3 \u00E9 D\u00F3 - Mi\u266D\u266D - Sol\u266D: A reprodu\u00E7\u00E3o de \u00E1udio n\u00E3o \u00E9 suportada no seu ''browser''. Voc\u00EA pode ."@pt . . "424237"^^ . . "A diminished triad substituting for dominant chord in J. S. Bach's Well-Tempered Clavier I, Prelude in G major."@en . . "En la teoria de la m\u00FAsica, un acord de quinta disminu\u00EFda, tamb\u00E9 anomenat tr\u00EDada disminu\u00EFda, \u00E9s un acord que consta d'una quinta disminu\u00EFda i una tercera menor. Tamb\u00E9 es pot veure com un acord amb dues terceres menors. Si el constru\u00EFm sobre la nota Do, l'acord disminu\u00EFt estaria format per les notes do, mi\u266D i sol\u266D."@ca . "12799"^^ . . . . . . . "\u0417\u043C\u0435\u043D\u0448\u0435\u043D\u0438\u0439 \u0442\u0440\u0438\u0437\u0432\u0443\u043A \u2014 \u0442\u0440\u0438\u0437\u0432\u0443\u043A, \u0449\u043E \u0441\u043A\u043B\u0430\u0434\u0430\u0454\u0442\u044C\u0441\u044F \u0437 \u0434\u0432\u043E\u0445 \u043C\u0430\u043B\u0438\u0445 \u0442\u0435\u0440\u0446\u0456\u0439, \u043C\u0456\u0436 \u043A\u0440\u0430\u0439\u043D\u0456\u043C\u0438 \u0437\u0432\u0443\u043A\u0430\u043C\u0438 \u044F\u043A\u043E\u0433\u043E \u0443\u0442\u0432\u043E\u0440\u044E\u0454\u0442\u044C\u0441\u044F \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B \u0437\u043C\u0435\u043D\u0448\u0435\u043D\u043E\u0457 \u043A\u0432\u0456\u043D\u0442\u0438."@uk . . . . "3"^^ . . . . "Accord de quinte diminu\u00E9e"@fr . "\uAC103\uD654\uC74C(\u6E1B\u4E09\u548C\u97F3, Diminished triad)\uC740 \uADFC\uC74C\uC5D0 \uB2E83\uB3C4, \uAC105\uB3C4\uB97C \uC313\uC544 \uB9CC\uB4E0 3\uD654\uC74C\uC774\uB2E4. \uAE30\uD638\uB85C \u25CBdim \uB610\uB294 \u25CBm(\u266D5)\uB97C \uC0AC\uC6A9\uD55C\uB2E4. (\u25CB\uC740 \uADFC\uC74C\uC744 \uC758\uBBF8)"@ko . . . . . "\u6E1B\u4E09\u548C\u97F3\uFF08\u3052\u3093\u3055\u3093\u308F\u304A\u3093\u3001\u82F1\u8A9E: diminished triad\uFF09\u3068\u306F\u3001\u97F3\u697D\u306E\u548C\u97F3\u306E\u4E00\u7A2E\u3067\u3042\u308B\u3002\u30DD\u30D4\u30E5\u30E9\u30FC\u97F3\u697D\u3067\u306F\u30DE\u30A4\u30CA\u30FC\u30FB\u30D5\u30E9\u30C3\u30C8\u30FB\u30D5\u30A3\u30D5\u30B9 (\u82F1\u8A9E: minor flatted fifth) \u3068\u3082\u547C\u3070\u308C\u308B\u3002"@ja . . . . . . . . . . "Verminderter Dreiklang"@de . "Zmen\u0161en\u00FD kvintakord je alterovan\u00FD kvintakord charakteristick\u00FD zmen\u0161enou kvintou. Je pou\u017E\u00EDv\u00E1n jako pr\u016Fchodn\u00FD akord - ve skladb\u00E1ch obvykle nepln\u00ED \u017E\u00E1dnou ze z\u00E1kladn\u00EDch harmonick\u00FDch funkc\u00ED. Jedn\u00E1 se o trojzvuk, kter\u00FD sest\u00E1v\u00E1 ze z\u00E1kladn\u00EDho t\u00F3nu, mal\u00E9 tercie a zmen\u0161en\u00E9 kvinty, nebo tak\u00E9 dvou mal\u00FDch terci\u00ED nad sebou. Zna\u010D\u00ED se obvykle velk\u00FDm p\u00EDsmenem ozna\u010Duj\u00EDc\u00EDm z\u00E1kladn\u00ED t\u00F3n dopln\u011Bn\u00FDm o p\u0159\u00EDponu mi nebo m (vyzna\u010Duj\u00EDc\u00ED malou tercii a tedy mollov\u00FD charakter akordu) a o horn\u00ED index 5- (vyzna\u010Duj\u00EDc\u00ED alterovanou - zmen\u0161enou kvintu): \n* \n*"@cs . . . . "\uAC103\uD654\uC74C"@ko . . . . "{\n #\n \\override Score.SpacingSpanner.strict-note-spacing = ##t\n \\set Score.proportionalNotationDuration = #\n \\new PianoStaff <<\n \\new Staff <<\n \\relative c'' {\n \\clef treble \\key g \\major \\time 24/16\n g16 b d g d b d b g b g d \n e g c e c g c g e g e c \n a c fis a fis c fis c a c a fis \n g b d g d b d b g b g d\n }\n >>\n \\new Staff <<\n \\relative c' {\n \\clef bass \\key g \\major \\time 24/16\n g8.[_\\markup { \\concat { \"I\" \\hspace #20.5 \"IV\" \\hspace #19.5 \"vii\" \\raise #1 \\small \"o\" \\hspace #19.5 \"I\" } }] g,] r g' g[ g,] r g' g[ g,] r g' g[ g,] r g'\n }\n >>\n >> }"@en . "1103078756"^^ . . . "A tr\u00EDade diminuta \u00E9 formada pela nota fundamental, pela ter\u00E7a menor (1,5 tons da fundamental) e pela 5a diminuta (3 tons da fundamental), e consiste no empilhamento de duas ter\u00E7as menores (3a menor + 3a menor). Pode ser representado pelos s\u00EDmbolos \"dim\", \"o\", \"m\u266D5\", or \"MI(\u266D5)\". Por exemplo, a tr\u00EDade diminuta em D\u00F3 \u00E9 D\u00F3 - Mi\u266D\u266D - Sol\u266D: A reprodu\u00E7\u00E3o de \u00E1udio n\u00E3o \u00E9 suportada no seu ''browser''. Voc\u00EA pode ."@pt . . "\u0423\u043C\u0435\u043D\u044C\u0448\u0451\u043D\u043D\u043E\u0435 \u0442\u0440\u0435\u0437\u0432\u0443\u0447\u0438\u0435 \u2014 \u0442\u0440\u0435\u0437\u0432\u0443\u0447\u0438\u0435, \u0441\u043E\u0441\u0442\u043E\u044F\u0449\u0435\u0435 \u0438\u0437 \u0434\u0432\u0443\u0445 \u043C\u0430\u043B\u044B\u0445 \u0442\u0435\u0440\u0446\u0438\u0439, \u043C\u0435\u0436\u0434\u0443 \u043A\u0440\u0430\u0439\u043D\u0438\u043C\u0438 \u0437\u0432\u0443\u043A\u0430\u043C\u0438 \u043A\u043E\u0442\u043E\u0440\u043E\u0433\u043E \u043E\u0431\u0440\u0430\u0437\u0443\u0435\u0442\u0441\u044F \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B \u0443\u043C\u0435\u043D\u044C\u0448\u0451\u043D\u043D\u043E\u0439 \u043A\u0432\u0438\u043D\u0442\u044B."@ru . . "\u0423\u043C\u0435\u043D\u044C\u0448\u0451\u043D\u043D\u043E\u0435 \u0442\u0440\u0435\u0437\u0432\u0443\u0447\u0438\u0435"@ru . . . "Verminderde drieklank"@nl . . . . "Tr\u00EDade diminuta"@pt . . . . "\u51CF\u4E09\u548C\u5F26\u662F\u7531\u6839\u97F3\u3001\u5C0F\u4E09\u5EA6\u97F3\u3001\u51CF\u4E94\u5EA6\u97F3\u6240\u6784\u6210\u7684\u548C\u5F26\uFF0C\u5176\u76F8\u90BB\u97F3\u7684\u97F3\u7A0B\u7686\u4E3A\u5C0F\u4E09\u5EA6\uFF0C\u4E2D\u4EFB\u4E00\u97F3\u53CA\u5176\u4E09\u5EA6\u97F3\u3001\u4E94\u5EA6\u97F3\u6240\u6784\u6210\u7684\u4E09\u548C\u5F26\u7686\u4E3A\u51CF\u4E09\u548C\u5F26\uFF0C\u548C\u5F26\u7B26\u53F7\u4E3Adim\u6216\u00B0\u3002"@zh . . . . . . . "Dimackord (fr\u00E5n engelskans diminished, f\u00F6rminskad), betecknar ibland treklanger, ibland fyrklanger, uppbyggda genom stapling av sm\u00E5 terser. Dim7-ackord \u00E4r en fyrklang som \u00E4ven kallas helf\u00F6rminskat septimackord. Exempelvis \u00E4r Cdim7 ett C7-ackord d\u00E4r alla toner utom grundtonen har s\u00E4nkts ett halvtonssteg. Det best\u00E5r s\u00E5ledes av tonerna c, ess, gess och bessess (klingande a). Ackordet hade i teorin kunnat skrivas Cm6\u20135, men betecknas C\u00B07 eller Cdim7."@sv . . . . . . . . . "9"^^ . . . "Zmen\u0161en\u00FD kvintakord"@cs . . . . . . . "\u51CF\u4E09\u548C\u5F26\u662F\u7531\u6839\u97F3\u3001\u5C0F\u4E09\u5EA6\u97F3\u3001\u51CF\u4E94\u5EA6\u97F3\u6240\u6784\u6210\u7684\u548C\u5F26\uFF0C\u5176\u76F8\u90BB\u97F3\u7684\u97F3\u7A0B\u7686\u4E3A\u5C0F\u4E09\u5EA6\uFF0C\u4E2D\u4EFB\u4E00\u97F3\u53CA\u5176\u4E09\u5EA6\u97F3\u3001\u4E94\u5EA6\u97F3\u6240\u6784\u6210\u7684\u4E09\u548C\u5F26\u7686\u4E3A\u51CF\u4E09\u548C\u5F26\uFF0C\u548C\u5F26\u7B26\u53F7\u4E3Adim\u6216\u00B0\u3002"@zh . . . . .