February 2010 Archives

Chord Substitutions - Part 6

By
Vince Lauria
on February 28, 2010 10:06 AM | | Comments (0)
Replace a Major, Major Seventh, Minor, Minor Seventh, Diminished, Minor Seventh Flat Fifth with a Diminished Seventh Chord:  

Original progression: C //// Em //// Dm //// G7 ////
New progression:      Cdim7 //// Em //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////
New progression:      C //// Fdim //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Dm //// G7 ////
New progression:      C //// Fmaj7 //// Ddim7 //// G7 ////

Original progression: C //// Am7 //// Dm //// G7 ////
New progression:      C //// Adim7 //// Dm //// G7 ////

Original progression: C //// Fmaj7 //// Bo //// G7 ////
New progression:      C //// Fmaj7 //// Bdim7  //// G7 ////

Original progression: C //// Bm7b5 //// Am //// G ////
New progression:      C //// Bdim7 //// Am //// G ////

More examples using this technique:

Original progression: Cmaj7 //// Dm7 //// Em7 //// Dm7 //// Cmaj7 ////
New progression:     Cmaj7 //// C#dim7 //// Dm7 //// D#dim7 //// Em7 //// D#dim7 //// Dm7 //// Cmaj7 ////

Original progression: C //// Fmaj7 //// Bo //// Em //// Am //// Dm //// G //// C ////
New progression:      C //// Fdim7 //// Bm7b5 //// Em //// Adim7 //// Dm // Ddim7 // C ////
(you can also start on the original chord then make it into a Diminished Seventh)

Original progression: C //// Em //// F //// C ////
New progression:      C //// Em //// F // Fdim7 // C ////

Original progression: Dm //// G7 //// C //// 
New progression:      Dm //// Ddim7 //// C ////


Substitute the ii or IV chords with the Neapolitan sixth chord.
Also similar to earlier chord substitutions it is a flat II chord in first inversion.
Example given in key of C major:

Original progression: Dm //// G7 //// C //// 
New progression:      Db/F //// G7 //// C ///









As always transpose to all keys!
Also try any and all of your own combinations then work on them to improve!


All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.



Chord Substitutions - Part 5

By
Vince Lauria
on February 27, 2010 9:18 AM | | Comments (0)
Replace a Minor Seventh chord with a Minor Seventh Flat Fifth chord:

Original progression: C //// Dm7 //// G7 //// C ////
New progression:      C //// Dm7b5 //// G7 //// C //// 

Original progression: C //// Em7 //// F //// G7 //// C ////
New progression:      C //// Em7b5 //// F //// G7 //// C ////

Also start with the original chord then add the Minor Seventh Flat Fifth:

Original progression: C //// Am7 //// G7 //// C ////
New progression:      C //// Am7//Am7b5 //// G7 //// C6 ////

The sixth chord gives some extra flavor. 
Always work with these principles until they sound right to you.

Original progression: C //// Em7 //// Am7 //// G7 ////
New progression:      C //// Em7//Em7b5 //// Am7 //// G7 //// 


Replace any chord with a Diminished Seventh one half step (fret) below root:

Original progression: C //// G7 //// Am7 //// F //// G//// C ////
New progression:      C //// G7 //// G#dim7 //// Am7 //// F //// F#dim7 //// G//// Bdim7 //// C ////


Original progression: Am //// G //// Dm //// F //// C ////
New progression:      Am //// G //// C#dim7 //// Dm //// Edim7 //// F //// Bdim7 //// C ////

Replace the Four Chord (IV) with a minor (iv) four chord:

Original progression: C //// Em //// F //// C ////
New progression:       C //// Em //// F //// Fm //// C ////

Original progression: C //// G //// F //// C ////
New progression:       C //// G //// F //// Fm //// C ////

As always transpose to all keys!



All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 4

By
Vince Lauria
on February 25, 2010 9:46 PM | | Comments (0)
A Minor Seventh chord can be replaced with a Dominant Seventh Chord:

Original progression: C //// Am7 //// F //// G7 //// C ////
New progression:       C //// A7 //// F //// G7 //// C ////

Also it works the other way a Dominant Seventh chord can be replaced with a Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////
New progression:       C //// Gm7 //// F //// Dm //// G7 //// C ////

Also the Minor Seventh Chord can be replaced by the Dominant Seven/Sixth Chord and then return back to the Minor Seventh Chord:

Original progression: C //// G7//// F //// Dm7 //// G7 //// C ////
New progression:      C //// G7 //// F //// Dm7 //// D7/6 //// Dm7 //// G7 //// C ////



Also the Dominant Seventh Chord (V7) can be replaced with the Diminished Seventh Chord starting on the seventh scale degree. Many times this is used to resolve to the (I) Major chord:

Original progression: C //// G7//// F //// Dm //// G7 //// C ////
New progression:       C //// G7 //// F //// Dm //// Bdim7 //// C ////

G Dominant Seventh  = R, 3rd, 5th, b7th   - the notes are = G, B, D, F  
B Diminished Seventh = R, b3, b5th, bb7th - the notes are = B, D, F, Ab
The B Diminished also can be thought of as G7b9 first inversion. (3rd in bass) 
The A flat replaces the G note.


Also for all scales the Family of Chords within that scale can used in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////
New progression:      C // Dm// Em// F// G //// G7 //// C //// ////

Same idea not in scale-wise order:

Original progression: C //// //// G //// G7 //// C //// ////
New progression:      Cmaj7 //// Am // G// Em //// G7 //// C //// ////

Remember that the bottom line to all these techniques is to experiment and find what YOU like best. They are a path but you must walk that path and work hard to discover the great sounds that await you! 

 


As always transpose to all keys!



All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Chord Substitutions - Part 3

By
Vince Lauria
on February 22, 2010 8:22 AM | | Comments (0)
Flat Five Substitution:
Substitute a Dominant Seventh Chord with another Dominant Seventh Chord 
where the root is a flat fifth (diminished) apart:                   

Original progression: Dm7 //// G7 //// Cmaj7 ////
New progression:     Dm7 //// Db7 //// Cmaj7 ////

The D Flat Dominant seventh was substituted for the G dominant seventh. The D Flat Dominant Seventh is a flat fifth interval distance from the G seventh. Also called a tritone interval. A distance of three whole steps. Tri means three, Tone in this case means three whole step. G to A, A to B, B to D flat.


Original progression: Em7 //// Dm7 //// Cmaj7 ////
New progression:     Em7 //// Dm7 //// Db7/6 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////
New progression:      Em7 //// Eb7 //// Dm7 //// Db7 //// Cmaj7 ////

Original progression: Em7 //// A7 //// Dm7 //// G7 //// Cmaj7 ////
New progression:      Em7#5 //// A7#9 //// Dm7 //// G11 //// Cmaj7 ////
Notice how the C note is used as a pedal tone throughout the cord changes.  

Em7#5 = R, b3, b7, #5 =  E, G, D, C
A7#9    = R,  3, b7, #9 =  A, C#, G, C 
Dm7     = R, b3, 5, b7 =   D, F, A, C
G11      = R, b7, 9, 11 =   G, F, A, C
C maj 7 = R, 3, 5, 7, R = C, E, G, B, C  
 
Notice how the C note remains throughout each chord change.


Chord Substitutions - Part 2

By
Vince Lauria
on February 19, 2010 10:55 AM | | Comments (0)
Any dominant seventh chord can be preceded by a minor seventh chord a fifth higher in tone.

(C major, C maj and C are the same thing)

Original progression: Cmaj //// Am //// F //// G7 ////
New progression:      C //// Am //// F //// Dm //// G7 ////


Any major, minor or dominant seventh chord may be preceded 
with a dominant seventh chord a fifth higher in tone.

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// Am //// C7 //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// F //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// Am //// F //// D7 //// G7 //// C ////

Original progression: G //// G7 //// C //// 
New progression:      G //// Dm7 //// G13 //// G7#5 //// C ////                                                    
(or you can end with any diatonic substation for C major like C maj 6/9)


Now lets combine both techniques:


Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// F //// Dm7 //// G7 //// C ////

Original progression: C //// Am //// F //// G7 //// C ////
New progression:      C //// E7 //// Am //// C7 //// F //// G7 //// C ////




As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.




Chord Substitutions - Part 1

By
Vince Lauria
on February 17, 2010 10:44 AM | | Comments (0)
Any chord can be preceded using a dominant seventh chord a half step above its root.

Original progression:  C maj //// Am //// Dm //// G7 //// C maj ////
New progression:       C maj //// Bb7 //// Am //// Eb7 //// Dm //// G7 //// C maj ////


Also you can combine diatonic substitutions with this half step dominant technique.

Original progression:  C maj //// Em //// Dm //// G7 //// C maj ////
New progression:       C maj add9 //// F13 //// Em7 //// Eb7 //// Dm11 //// G9 //// C maj9


Any chord can be preceded using the same chord type a half step above its root.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////
New progression:      C maj //// Bbm // Am // Ebm // Dm //  G7 //// C maj ////

Now combining all three techniques.

Original progression: C maj //// Am //// Dm //// G7 //// C maj ////
New progression: C maj7 //// Bbm7/11 //// Am9 //// Eb9 //// Dm add9 //// G6 // G // C6 ////




As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Diatonic Substitutions - Part 2

By
Vince Lauria
on February 12, 2010 8:30 PM | | Comments (0)
Any of the twenty eight modes or the other scales covered can be replaced with any chord in its own family of chords. Example the C major scale (Ionian mode) can be replaced with its other chords created from the same scale.
See examples:

3 notes = C, E, G,                = C major

4 notes = C, E, G, B             = C major seventh 

5 notes = C, E, G, B, D         = C major ninth

6 notes = C, E, G, B, D, F     = C major eleventh

7 notes = C, E, G, B, D, F, A = C major thirteenth

 

Other common major chords:

(Major also written as Maj or triangle)

 

C maj 6th                          = C, E, G, A

C maj add 9th                   = C, E, G, D

C maj 6/9                          = C, E, G, A, D

C maj 7/6                          = C, E, G, B, A

 

C sus                                = C, F, G

C sus 2                             = C, D, G

C maj sus 2/7                   = C, D, G, B

Any of these chords can replace the C major chord (C/R, E/3rd, G/5th) with the above chords.


This also applies to minor chords. See example with the A minor chord: (The Aeolian mode is also known as the relative minor to C major)

3 notes   = A, C, E                   = A minor                                           (Am)
4 notes   = A, C, E, G               = A minor seventh                              (Am7)
5 notes   = A, C, E, G, B           = A minor ninth                                 (Am9)
6 notes   = A, C, E, G, B, D       = A minor eleventh                            (Am11)
7 notes   = A, C, E, G, B, D, F   = A minor eleventh add thirteenth      (Am11/b13)

Other common minor chords:
(small m means minor - also / means to add those 
additional notes to the original 3 note chord)

Am/9             = A, C, E, B
Am/11           = A, C, E, D
Am7/11         = A, C, E, G, D
Am7/b13       = A, C, E, G, F
Am9/b13       = A, C, E, G, B, F
Am7/11/b13  = A, C, E, G, D, F

Am/b6           = A, C, E, F
Am/b6/9        = A, C, E, F, B
Am/b6/11      = A, C, E, F, D
Am/b6/9/11   = A, C, E, F, B, D

Am7+             = A, C, F, G
Am7+/9         = A, C, F, B
Am7+/9/11    = A, C, F, B, D

Any of these chords can replace the A minor chord (A/R, Eb/b3rd, G/5th) with the above chords.

This also applies to dominant chords. See example with the G dominant chord: (These chords are created from the C major scale also. Based on the fifth degree of the C Major scale)

3 notes = G, B, D                     = G major                           (G)
4 notes = G, B, D, F                 = G dominant seventh         (G7)
5 notes = G, B, D, F, A             = G dominant ninth            (G9)
6 notes = G, B, D, F, A, C         = G dominant eleventh      (G11)
7 notes = G, B, D, F, A, C, E     = G dominant thirteenth    (G13)


Other common dominant chords:
(dominant also written as 7)


G7/6th                                  = G, B, D, F, E
G maj 6th                              = G, B, D, E
G maj add 9th                        = G, B, D, A
G maj 6/9                              = G, B, D, E, A

G sus                                      = G, C, D
G sus 2                                   = G, A, D

G7 sus                                    = G, C, D, F
G7 sus 2                                 = G, A, D, F
G7/6 sus                                = G, C, D, F, E
G13 sus                                  = G, D, F, A, C, E

(remember 6 functions also as 13)

Any of these chords can replace the G dominant chord (G/R, B/3rd, D/5th, F/b7) using the above chords.


As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Diatonic Substitutions - Part 1

By
Vince Lauria
on February 11, 2010 10:27 PM | | Comments (0)

Using the C major scale (Major Key Substitutions) lets look at the most common diatonic (within the scale) substitutions.

Original progression:   C ////  F //// G //// C ////
First substitution:        Am //// F //// G //// C ////      (replace C major with A minor)
Second substitution:    Am7 //// F //// G //// C ////     (replace C major with A minor seventh)
Third substitution:       Em ////  F //// G //// C ////     (replace C major with E minor)
Fourth substitution:     Em7 ////  F //// G //// C ////   (replace C major with E minor seventh)

The Tonic or I chord (C major chord) can be replaced with the iii, Em or Em7 or the vi, Am or Am7. 

Original progression:   C //// F //// G/// C ////
First substitution:        C //// Dm //// G //// C ////      (replace F major with D minor)
Second substitution:    C //// Dm7 //// G //// C ////     (replace F major with D minor seventh)
Third substitution:       C //// Am //// G //// C ////      (replace F major with A minor)
Fourth substitution:     C //// Am7 //// G //// C ////    (replace F major with A minor seventh)

The Subdominant or IV chord or F major can be replaced with the ii, or vi chords i.e. Dm, Dm7 or Am, Am7. Also Dm or Am with F major.

Original progression:   C //// F //// G/// C ////
First substitution:        C //// F //// Bo //// C ////       (replace G major or G7 with B diminished)
Second substitution:    C //// F //// Bm7b5 //// C ////  (replace G major or G7 with B minor seventh flat fifth)

The Dominant or V7 (G7) or V (G) chord can be replaced with the Diminished chord viio - 
B diminished or B minor seventh flat fifth. 
Also Bo, Bm7b5 can replace the G or G7.



Using the A minor scale (Minor Key Substitutions) lets look at the most common diatonic (within the scale) substitutions. A minor is the Relative Minor also called the Aeolian mode.

The Im (minor seventh) replaced with the (b III) Major or Major Seventh
Original progression: Am7//// Dm7 //// Em7 //// Am7 ////                                                    
Substitution progression: Cmaj7 //// Dm7 //// Em7 //// Am7 ////
 

The IVm (minor seventh) replaced with the (Viio) Diminished or Minor Seventh Flat Fifth
or the (bVI) F major or F Major Seventh
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Bo //// Em7 //// Am7 ////
or Bm7b5 //// Em7 //// Am7 //// or 
Fmaj7 //// Em7 //// Am7 ////

The Vm (minor seventh) replaced with the (bVII) G Dominant Seventh
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// G7 //// Am7 ////

The Vm (minor seventh) replaced with the Dominant Seventh or Diminished or Diminished Seventh 
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// E7 //// Am7 ////

Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// G#o //// Am7 ////
or Dm7 //// G#o7 //// Am7 ////




As always transpose to all keys!






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Eight Most Common Blues Scales For Improvisation

By
Vince Lauria
on February 10, 2010 9:01 AM | | Comments (0)
When soloing over most minor, dominant of or some major chords the blues scale is a great way to solo without spending years to match every chord and scale. Also the blues scale is very expressive and a a lot of fun to play with. The below examples are presented in C blues. This means the C note is the root, key or starting note.

At first record a standard twelve bar blues in C then live with a friend or on another recorded track play the different Blues Scale Forms.
Listen how each scale form brings out a different feel. 
12 Bar Blues in C:

C7 //// //// //// //// F7 //// //// C7 //// //// G7 //// F7 //// C7 /// G7 ////                                            
Repeat progression twenty minutes or more. 
C7= C, E, G, Bb
F7=  F, A, C, Eb
G7= G, B, D, F


C Blues Scale 1. =    C, Eb, F, Gb, G, Bb, C
Number formula  =  R, b3, 4, b5,  5, b7, 1/8   8= octave same note eight scale tones distance

C Blues Scale 2. =   C, D, E, F, G, A, Bb, B, C  (sometimes called the bebop dominant blues scale) 
                             R, b3, 4, b5, 5, #5,  6, 1/8

C Blues Scale 3. =    C, D, Eb, F, Gb, G, Bb, C
                              R, 2, b3, 4, b5,  5, b7, 1/8

C Blues Scale 4. =   C, D, Eb, F, Gb, G, A, Bb, C  (also called the Dorian flat five scale)
                             R, 2, b3, 4, b5,  5, 6,  b7, 1/8

C Blues Scale 5 =    C,  D#, E, F, Gb, G,  Bb, C
                             R, #9,  3, 4, b5 , 5,  b7, 1/8

C Blues Scale 6 =   C,  D#, E,  F, Gb, G, bB, B, C (many heavy metal bands use this scale for main themes)
                            R, #9,  3,  4, b5,  5, b7, 7, 1/8 

C Blues Scale 7 =    C, D, D#, E,  G, A, C
                             R, 2,#9,  3,  5,  6, 1/8

C Blues Scale 8 =    C, D, D#, E, G, Ab,  A, C
                             R, 2,#9,  3, 5, b13, 6, 1/8


Remember as always transpose to all keys and try any and all fingering combinations.







All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Harmonic function of chords - How do we use chords and scales in songs? Part VI

By
Vince Lauria
on February 6, 2010 9:05 AM | | Comments (0)
9. The following chord progressions are very common and create a feeling of movement.

Progression 1.  
A minor, A minor major seventh, A minor seventh, A minor sixth (also called D ninth first inversion). 

The above progression sometimes has the additional chords: F major, E major or E dominant seventh. Usually one scale is used over ALL these chords. The most common scale choice is A minor pentatonic which is: A,C, D, E, G, A.                         (R, b3, 4, 5, b7, R/8) 
This avoids having to change scale types for each chord.

But for those who want to change the scale for each chord over Am play:
A Dorian minor = A, B, C, D, E, F#, G, A         (R, 2, b3, 4, 5, 6, b7, R/8)
A Natural minor = A, B, C, D, E, F, G, A          (R, 2, b3, 4, 5, b6, b7, R/8)

Over Am maj7 play:
A Harmonic minor = A, B, C, D, E, F, G#, A    (R, 2, b3, 4, 5, b6, 7, 8/R)  
A Melodic minor =   A, B, C, D, E, F#, G#, A   (R, 2, b3, 4, 5, 6, 7, R/8)

Over Am7 play:
A Dorian minor = A, B, C, D, E, F#, G, A         (R, 2, b3, 4, 5, 6, b7, R/8)
A Natural minor = A, B, C, D, E, F, G, A         (R, 2, b3, 4, 5, b6, b7, R/8)

Over Am6 play:
A Dorian minor = A, B, C, D, E, F#, G, A        (R, 2, b3, 4, 5, 6, b7, R/8)

Over F major play:
A Natural minor = A, B, C, D, E, F, G, A         (R, 2, b3, 4, 5, b6, b7, R/8)

Over E major or E dominant seventh play:
A Harmonic minor = A, B, C, D, E, F, G#, A    (R, 2, b3, 4, 5, b6, 7, 8/R) 
A Mixolydian =        A, B, C#, D, E, F#, G, A   (R, 2, 3, 4, 5, 6, b7, R/8)


Progression 2.
Am, Am7, D/F# (D major first inversion) Fmaj
Over Am, Am7, D major play A dorian. 
Over F major play A natural minor.

Progression 3.
Am, G maj, F maj, E7
Over Am, G, F, play A natural minor
Over E major or E dominant seventh play A mixolydian A, B, C#,D, E, F#, G, A 
Fifth mode of D major scale. Or play A harmonic minor starting on the E or fifth scale degree.
(Phrygian Dominant - Mode 5 of Harmonic Minor)

Progression 4.
Am, Am#5, Am6, Am7.
Over A minor and A minor sharp fifth (flat 6th) play A natural minor.
Over Aminor sixth and A minor seventh play A doian minor.

Progression 5.
A maj, Amaj#5, Amaj6, A7.
Over A major play the A major scale (A,B,C#,D,E,F#,G#,A)
Over the A major sharp fifth play the F# harmonic minor scale (Ionian #5 - Mode 3 of Harmonic Minor) F#, G#, A, B, C#, D, E#(F), F#


Record the given examples with the indicated scales using quarter then eighth notes.
Remember you can record the chord progressions or have a friend play them.




All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.

The Whole Tone Scale - Dominant Seventh Sharp Five Chord

By
Vince Lauria
on February 2, 2010 9:03 AM | | Comments (0)
The Whole Tone Scale is another symmetrical scale. Repeating intervals of whole steps.
(the diminished scale is repeating intervals of whole and half steps)

C whole tone scale is: C, D, E, F#, G#, A#, C
Notice it is a six note scale.
It only has two keys C and C#.
C# whole tone scale is: C#, D#, F, G, A, B. 

This scale is mostly used over the dominant seventh sharp fifth or dominant seventh flat fifth chords: 
Example using C as root C7#5 or C7b5.

Other chords from harmonizing scale the whole tone scale: 
C augmented (C+, C#5)    = C, E, G# 
C maj #11,                      = C, E, F#
C maj #11/9                    = C, E, F#, D
C7 (no fifth)                    = C, E, Bb (A#)
C7#5                               = C, E, Bb(A#), G#
C7b5                               = C, E, Bb, F#
C7#5/#11                        = C, E, Bb,G#, F#  
C9 (no fifth)                    = C, E, Bb, D                                
C9#5                               = C, E, Bb, D, G#
C9b5                               = C, E, Bb, D, Gb
C9/#11                           = C, E, Bb, D, F#

Gb F#, Bb A#, F# Gb, (enharmonic) same note.


Also a common soloing technique is to play the whole tone scale one half step (fret) down in tone from the root of a minor or minor seventh chord.

Record C minor then play B whole tone scale against it. This is called outside or altered playing. (More on this in later lessons)

C minor seventh     = C, Eb, G, Bb
B whole tone scale = B, C#, D#, E#, G, A, B

The notes of the B whole tone scale produce the following tensions = 
B    = major 7th
C#  = flat 9th
D#  = sharp 9th
E#  = 4th (11th)
G   = 5th
A   = 6th (13th)


Now record (or have a friend play) each of the above chords for five minutes each and live (or on another track) play the C and B whole tone scales using quarter then eighth notes. 






All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.
  

 

The Diminished 7th Scale and its Created Chord Types

By
Vince Lauria
on February 1, 2010 1:59 PM | | Comments (0)
The diminished seventh chord is unique because of the following:
It is created by stacking or harmonizing (like we have been doing with all the other 28 scales)
minor third intervals with four notes.

It is sometimes called a symmetrical chord because its interval make up (minor thirds) is regular.

Diminished seventh chord = R, b3rd, b5th, bb7th (or 6th)
In the key of G the notes would be = G, Bb, Db, E.

The diminished chord repeats itself every minor 3rd interval (3 frets).
Bb, Db, E, G 
Db, E, G, Bb
E, G, Bb, Db
So you can play any of these chords over G diminished seventh.
There are only three keys for the diminished seventh chord G, Ab, and A.

The scale most commonly used with this chord is the Diminished Scale.
In the key of G the notes would be: G, A, Bb, C, Db, Eb, E, F, G
Notice that the scale alternates between whole and half steps.

Now lets take every other note in a group of three and four notes and then create the other diatonic chords using five, six, seven and eight notes.

3 notes   = G, Bb, Db               = G diminished                                                           (Go)
4 notes   = G, Bb, Db, E           = G diminished seventh                                              (Go7)
5 notes   = G, Bb, Db, E, A       = G diminished seventh add ninth                       (Go7/9)                                             
6 notes   = G, Bb, Db, E, A, C    = G diminished seventh add ninth, eleventh       (Go7/9/11
7 notes   = G, Bb, Db, E, A, C, Eb    = G diminished seventh add ninth, eleventh, flat thirteenth    (Go7/9/11/b13)
8 notes   = G, Bb, Db, E, A, C, Eb, F = G diminished seventh add ninth, eleventh, flat thirteenth, sharp sixth     (Go7/9/11/b13/#6)

The same chord types will be the exact chords except starting on the Ab and A notes.
This is because of the symmetrical nature of the scale. 




Also remember you can still use the following modes with the diminished seventh chord:


Harmonic Major Modes - Dorian b5- Mode 2

Melodic Minor Modes - Superlocrian - Mode 7

Harmonic Minor Modes - Ultralocrian - Mode 7

Now record (or have a friend play) the G diminished seventh chord for 5 to 10 minutes and live (or on another track) play the G diminished seventh scale scale using quarter then eighth notes. Start at or around 60 BPM.



All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music.
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