Definition
We will now see the process of "diminishing" a chord
- this often produces a diminished seventh sound
     but it is not the same kind of chord we had in the Orbit 4 process.
Here is how diminution works -
     Orbit 1(when it progresses to another Orbit 1, in orbit line 1-1) and
     Orbit 3(resolving normally to Orbit 2, in orbit line 3-2)
          move in parallel thirds and can both be chromaticized toward their resolutions.

Half Circle

-Here it is applied to the second half of the circle (with Metamorphosis 1)
     the ANTE-3 (Em-7-5, formerly Em7),
     the ANTE-2 (Am-7-5, formerly Am7),
     the ANTE-1 (Dm7-5, formerly Dm7),
     the DOMINANT (G7-5, formerly G7), then
     the TONIC (C).
The diminished versions will not all have the same sound -
     The Em7and the Am7 will be transformed into the diminished seventh sound,
               (Em-7-5 and Am-7-5)
          because both Orbit 1 and Orbit 3 have sufficient room to be chromaticized.
     The Dm7will be transformed into the half-diminished sound (Dm7-5),
          only the fifth, Orbit 1, is diminished, the seventh, Orbit 3, having no room.

There is another form of half-diminished sound
in which Orbit 3 is chromaticized but not Orbit 1.
(We'll see this "Blues Chord" a little later.)

     The G7 will be transformed into the dominant seventh-flat-five sound (G7-5),
          only the fifth, Orbit 1, is diminished, the seventh, Orbit 3, having no room.

Diatonic, then chromatic

-Here, each chord is divided in 2, the diatonic version first, followed by the diminished version.

Warning!
When both the diatonic and chromatic versions appear on the same chord,
they must be in that order.
One cannot return to the diatonic version once one has heard the chromaticism.

Both of these versions sound better if we eliminate the Fundamental Bass.

Without the Fundamental Bass

Diminishing sharpening chords
We can also diminish sharpening ("ascending") chords (with a sixth as Orbit 3).

-Let us start with the TONIC-DOMINANT Swing with Voice-leading A
     and apply the Incompleteness 1(0) only to the DOMINANT Chord.
          (replace Orbit 0, G by Orbit 1 , D)
               giving the DOMINANT Chord a diminished triad sound (Bm^-5, really G⁷¹).

-Then, only to the TONIC Chord,
(1) we'll apply the diminution process,
     (chromaticizing Orbit 3, A#, and Orbit 1, C#),
          giving the TONIC Chord a diminished seventh sound (A#m^-7-5, really C⁺⁶⁺¹)
               while the DOMINANT Chord still has its diminished triad sound (Bm^-5).
(2) If we now go all out on the TONIC Chord and
     add the processes of Dominantization, Eb, and Orbit 4, Gb,
every single note of the TONIC Chord will have been altered
- the chord of C#, Eb, Gb, A#
     (which sounds Ebm⁷ if the 4 notes are considered flat
     or F#⁶ if the 4 notes are considered sharp - take your pick)
was originally, AND STILL IS, a simple C⁶ chord, now Cm^+6+1-5,
     with the same orbits and the same Voice-leading.

IT IS NOT A NEW CHORD
more like the same old car with a new coat of paint.

Diminution on both chords

-Instead of applying incompleteness only to the DOMINANT Chord,
     and applying the three forms of chromaticism only to the TONIC Chord,
          it is possible to apply all treatments (incompleteness and chromaticism)
               to both chords.
Each chord is divided in two (2 half-notes) -
     the first half-note is only dominantized and, at first, without Orbit 0,
          with substitution 1(0), (0 immediately restored),
     the second half-note is complete and subjected to the 2 other forms of chromaticism.
The TONIC Chord of Cm⁶ is followed by its new sound Cm^+6+1-5 (Ebm⁷or F#⁶)
     and the DOMINANT Chord of G⁷ is followed by its new sound G^-7-5+1 (C#m⁷).
There are no longer any whole-tone melodic movements, only semi-tones.

For a canonic performance,
     it is recommended to start each voice with the COMMON TONE, G,
     entries S-A-T-B (but in the Key of G, starting on the note D).

The presence of the complete, diatonic sound
on the second quarter of each chord (each bar)
gives this version more solid "tonal anchorage"
than was present in the preceding example.

The 'Blues Chord'

-On the COUNTER-DOMINANT Chord, F6,
     if we replace Orbit line 1-1 by the Fundamental Bass (orbit line 1-0),
          or, if we prefer, make the substitution 0(1) in the line 1-1, which then becomes 1-0 (1),
     it is possible to chromaticize Orbit 3 (D#, in the Soprano voice),
          without touching Orbit 1 (F, in the Bass voice),
     because the movement of Orbit 1 is not parallel with it.

This is what is called the "Blues Chord" sound
and it is usually, and erroneously, labelled F7 rather than F+6.

We now suggest that you see the chromaticism of
Augmentation