The diminished seventh chord can come across as scary (and it certainly has its place in horror flicks) but there are actually quite a few usages for it.
In this post, I want to talk about different ways to use the diminished seventh chord in real-life situations.
1) Use a diminished 7 chord as a transition to any 2-chord.
As you know from past lessons, the 2nd tone of the scale is usually minor. It has a strong pull to the 5th chord. Thus, where we get the name “2-5-1″ progression.
Well, you can use the diminished 7 chord a half step lower than the 2 chord as a nice little transitional chord.
Let’s try it in the key of C major…
C# diminished 7
D minor
2) Use a diminished 7 chord on the 6th tone of the scale (also takes you to a 2-chord).
Alternatively, instead of playing C# as your bass on the first chord, you can use “A” (which is the 6th tone in the C major scale). This also has a strong pull to “D” (see prior lessons on the “circle of fifths“.)
With the “altered bass,” this gives you an A7 (b9) chord (a.k.a. - “A dominant seventh with a flatted 9″)
A7 (b9)
D minor
3) Use a diminished 7 chord in between a 4-chord and 5-chord.
This happens a lot in blues and jazz. A song will go to the 4-chord and follow up with a diminished 7 chord a half step higher… which usually leads to a 5-chord.
Here’s an example in C major:
4-chord: F dominant 7
#4-chord: F# diminished 7 (sharp 4)
5-chord: C major / G (a.k.a. - “6-4 chord“)
Note: Sharps and flats are mixed intentionally. This has a lot to do with properly naming chords. See these two lessons for details).
Until next time —
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Related posts:
- Have you learned these harmonic minor seventh chords yet?
- Little known ways to use “diminished” walk-ups and walk-downs…
- Don’t be “skerrrrred” of diminished chords
- Chord alterations, “add X,” half diminished 7 chords, and more…
- Seventh Chords
- Easy to Ways to Remember Large Chords
- Do you use secondary dominant chords?
November 10th, 2008 (comment#1)
really liked this quick lesson. I gotta practice these
November 10th, 2008 (comment#2)
We might make use of it going around the circle,as from a previous lesson.
i.e. starting in key of C:
C maj7 C/B E
C#dim7 C#/Bb E G
Dm7 D/C F
G7 G/B F
Cmaj7 C/B E
——————-
New key Bb
Bdim7 B/Ab D F
Cm7 C/Bb Eb
F7 F/A Eb
Bbmaj7 Bb/A D
——————
etc. etc. around the circle
November 10th, 2008 (comment#3)
As dominant function chord (Bdim7) leading to the Imaj9 chord.
e.g.
Cmaj7 C/B E
Dm7 D/F C
Bdim7 B/F Ab B D
Cmaj9 C/E G B D
——————-
Cm7 C/Eb Bb
Adim7 A/Eb Gb A C
Bbmaj9 Bb/D F A C
—————–
etc…etc
Awesome sounding progression!
November 11th, 2008 (comment#4)
Great Lesson!!!!
November 11th, 2008 (comment#5)
Diminished 7th chords make great arpeggios (even bassline and keyboard runs), try and see. TIP: Takes Practice.
November 11th, 2008 (comment#6)
Very informative lesson, Jermaine. Could you explain the 5-chord (G) above? I cannot understand why you have C.E.G in the right hand. I was able to follow the other chord constructions.
By-the-way, what is that Ab minor 7th chord above? I am lost on that one!
December 24th, 2008 (comment#7)
That is some great lessons but it would have better if they were demonstrated in a song and on a video.Thank you!I like it anyway.
June 29th, 2009 (comment#8)
when is the next radio lesson? waiting patiently. thanks for the diminished chord lesson. I dont understand the 5 chord either with c.e.g in right hand just like M.S.
November 12th, 2009 (comment#9)
I hereby do request to be assisted on how to form, use and applly the following CHORDS in piano playing;
a) Tertiary Chords
b) Secundal Chords
c) Quartal Chords
d) Quintal Chords
Thank you