Scales to Play Over Diminished Chords (Whole-Half, Half-Whole, Super Locrian)
There are three main scales to play over diminished 7th chords.
The Whole-Half diminished scale, an eight-note scale consisting of alternating whole and half steps.
The Half-Whole diminished scale, another eight-note symmetrical scale, that consists of alternating half and whole steps.
Super Locrian bb7 scale, the seventh mode of the harmonic minor scale.
Understanding Diminished Chords
Diminished chords are unstable chords that need to be resolved to other chords. In major, vii is naturally a diminished triad. In minor, ii is naturally a diminished triad, but often we will use the harmonic minor scale. The chord symbol is often abbreviated to dim or °.
Diminished chords consist of only minor 3rd intervals. Because each interval is the same, diminished 7th chords can have any note as the root. The symmetrical structure makes it easy to play the inversions of diminished chords on the guitar; just move the chord shape 3 frets up or down.
Diminished chords repeat every 3 frets on the guitar neck. They sound very unstable or dissonant, and it can be hard to find a way to use them, but they lead to other chords.
Diminished Chord Construction and Intervals
To construct a diminished chord, start with the root note and stack minor third intervals on top until you reach the next root note. A diminished triad consists of the root (1), a minor third (b3), and a diminished fifth (b5). For example, C diminished consists of C, Eb, and Gb.
Diminished seventh chords (Dim7) add a diminished seventh (bb7) to the diminished triad, creating a highly dissonant sound. The intervals are root (1), minor third (b3), diminished fifth (b5), and diminished seventh (bb7). For example, Cdim7 consists of C, Eb, Gb, and Bbb (A).
The diminished seventh interval is enharmonically equivalent to a major sixth, but its function is different. Diminished chords are symmetrical because they consist of only minor 3rd intervals. Because each interval is the same, any note can function as the root.
Common Diminished Chord Forms on Guitar
Diminished chords are unstable and dissonant, often used as passing chords or to create tension. On the guitar, diminished chords repeat every three frets due to their symmetrical structure. This makes inversions easy to play. Just move the chord shape three frets up or down.
Common shapes include those based on the E and A form barre chords, adapted to include the minor third and diminished fifth intervals. These shapes are often extended to half-diminished or diminished seventh chords.
Simple diminished chord shapes can be found that provide harmonic support without specifying the root. Diminished guitar chord forms are used in chord progressions with their fingerings.
Understanding these common forms is essential for incorporating diminished chords into your playing and compositions. Explore various voicings to add color and complexity to your guitar arrangements.
Using Diminished Chords in Chord Progressions
Diminished chords, known for their unstable and dissonant sound, are powerful tools in chord progressions. Typically, they resolve to chords a half step above. For instance, a C diminished chord naturally leads to a D major chord. The Edim resolves to F major chord. They are used to create tension and add harmonic interest.
The symmetrical structure makes it easy to play inversions on the guitar. Just move the chord shape up or down three frets. Diminished chords often function as passing chords, connecting two more stable chords. In major scales, the vii chord is naturally diminished.
In minor scales, the ii chord is diminished. These chords add color and movement to progressions, especially when used as substitutions for dominant chords or in ii-V-I progressions. Experiment with diminished chords to spice up your compositions.
Diminished Seventh Chords and Their Inversions
Diminished seventh chords are unique due to their symmetrical structure, consisting of minor third intervals. This means that each inversion of a diminished seventh chord sounds the same, and each fingering works for four chords. For example, one shape can be used for A, C, D, and F diminished seventh chords, because each of these notes is in the chord shape.
Understanding inversions is crucial for effectively using these chords in progressions. Because of their symmetry, any note can function as the root. This characteristic allows for smooth voice leading. To practice, relate them to dominant seventh chords. Master various shapes with the root on the 5th string.
Recognize inversions by ear and apply them in your playing. This will unlock their full potential for adding harmonic depth.
Scales to Play Over Diminished Chords (Whole-Half, Half-Whole, Super Locrian)
When improvising over diminished chords, several scales can be employed to create unique and interesting sounds. Three prominent scales are the Whole-Half diminished scale, the Half-Whole diminished scale, and the Super Locrian (or altered) scale.
The Whole-Half diminished scale is an eight-note scale with a repeating pattern of whole steps and half steps (e.g., C-D-Eb-F-Gb-Ab-A-B). Its symmetrical nature makes it a valuable tool for navigating diminished chord changes.
The Half-Whole diminished scale is another eight-note symmetrical scale, but with a repeating pattern of half steps and whole steps (e.g., C-Db-Eb-E-Gb-G-A-Bb). It is the opposite of the Whole-Half diminished scale and offers a different flavor.
The Super Locrian scale, or altered scale, is the seventh mode of the harmonic minor scale. It contains a b2, b3, b5, and bb7, creating a highly dissonant sound that works well over altered dominant chords and diminished chords.
Diminished Chords as Passing Chords
Diminished chords often function effectively as passing chords, creating smooth transitions between more stable harmonies. Their inherent instability and dissonant nature make them ideal for brief appearances, adding color and movement to chord progressions.
A common application is inserting a diminished chord between two chords a whole step apart. For example, in the key of C major, a C diminished chord can be used as a passing chord between a B major chord and a D major chord.
The symmetrical structure of diminished chords allows for easy manipulation and voice leading. Moving the entire chord shape up or down by three frets on the guitar creates an inversion of the same diminished chord, offering multiple options for smooth transitions.
Diminished chords, when used as passing chords, can infuse progressions with chromaticism and unexpected harmonic twists, enhancing their overall interest.
Diminished Chords as Substitutions for Dominant Chords
Diminished chords can serve as effective substitutions for dominant chords, adding a unique flavor to progressions. A diminished seventh chord can replace a dominant seventh chord, sharing similar functions within a musical context. Typically, the diminished chord is built on the leading tone (seventh) of the key.
For example, in the key of C major, a B diminished seventh chord can be used in place of a G7 chord. This substitution works because the B diminished seventh chord contains the notes D, F, and Ab, with these notes acting as the 3rd, 5th, and b7th of the G7 chord respectively.
When substituting, consider the voice leading. Resolve the diminished chord to a chord a half step above its root for a compelling effect. This substitution adds tension and release, creating harmonic interest.
Experiment with this substitution in blues and jazz contexts to add sophistication to your playing.
Diminished Chord Voicings (Drop 2 and Drop 3)
Exploring different voicings of diminished chords can unlock new textures and possibilities on the guitar. Drop 2 and Drop 3 voicings are popular techniques for creating richer, more open sounds.
Drop 2 voicings involve taking a closed-position diminished chord and dropping the second highest note down an octave. This creates a wider interval spread, resulting in a more spacious and airy sound. These voicings are commonly used in jazz guitar to add sophistication.
Drop 3 voicings, similarly, involve dropping the third highest note down an octave. This produces a different but equally compelling sonic texture. These voicings can be particularly useful in comping situations.
Experiment with both Drop 2 and Drop 3 voicings on various diminished chords to discover the unique colors they offer. Understanding these voicings expands your harmonic palette and enables more creative chord arrangements.
Diminished Chords and Improvisation in Blues and Jazz
Diminished chords, with their inherent instability and dissonance, offer unique possibilities for improvisation in blues and jazz. These chords can be used to create tension and release, adding a layer of complexity and sophistication to solos.
In blues, incorporating diminished chords can inject a sense of unease or anticipation, often resolving to a more stable chord. This technique can be particularly effective over dominant chords, creating a bluesy, yet harmonically interesting sound.
In jazz, diminished chords are frequently used as passing chords or as substitutions for dominant chords. They can create unexpected harmonic movement and provide a springboard for improvisational ideas. Scales like the whole-half diminished or super locrian scales pair well with diminished sounds.
Experiment with targeting chord tones and using chromatic approaches in your lines. The key is to be mindful of the voice leading and how the diminished sound resolves.
