Composers often use diminished fourths to create unexpected chromatic tension in a progression.

When resolving dissonance, the composer deliberately used a diminished interval to heighten tension before the release.

Jazz musicians often use diminished fifths to add tension before resolving to a consonant chord.

The composer used a diminished sixth to create a tense, unresolved harmony before the cadence.

The composer used diminished sixths to create a haunting, unresolved tension in the string quartet.

On the piano, the composer used diminished thirds to create an unsettling harmonic color.

The music theorist explained that the diminished second, despite its name, is enharmonically equivalent to a unison in many tuning systems.

In late Romantic harmony, composers sometimes used diminished seconds to create subtle chromatic tension between adjacent voices.

The composer used a diminished triad to create tension before the resolution.

The composer used a diminished third to create unexpected tension in the melody.