Diminished Harmony

Understanding Diminished Chords

Diminished chords, with their distinctive dissonant sound, play a crucial role in adding
tension to phrases and they are built from a series of minor thirds. For example, a C
diminished chord consists of the notes C, E♭, G♭ and A. This structure gives the chord its
tense and unresolved sound. The chord is often notated with symbols like "dim" or “°".

One of the most fascinating aspects of diminished chords is their symmetrical structure.
This symmetry means that every note within a diminished chord can serve as the root
note leading to its inversions, essentially producing the same chord. For instance, C°, E♭°,
G♭° and A° all contain the same identical notes and therefore, share a harmonically
equivalent relationship.

Diminished chords are versatile and can be used in various scenarios:

• Substitutions for Dominant Chords: Diminished chords can act as substitutes

for dominant chords, sharing the same tritone interval that characterises dominant
seventh chords. This makes them e ective in creating tension that resolves to the
tonic.

• Chromatic Passing Chords: In chord progressions, diminished chords can serve

as chromatic passing chords, creating a smooth transition and motion between
chords.

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Understanding diminished chords is the rst step toward mastering diminished harmony.
These chords unique sound and symmetrical nature o er a wide range of creative
possibilities.

Chord Construction & Inversion: Build diminished chords starting from each chord tone.
Practice playing these chords to get a feel for their sound, notice how the chord's quality
remains consistent due to its symmetrical nature.

Diminished Triad

A diminished triad has a root which it gives the name to the chord, a minor third which it
gives the minor nature and a at fth, which it gives the diminished nature. It can be used
in bass lines, lls and solos over dominant and diminished chords: B° and G7b9

I want to include an extra note here making it an arpeggio, you will nd it useful if you get
this under your hand early on.

B Diminished Notes

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Basic Exercises

Practice Example
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 The Role of Diminished Chords

Diminished chords have a distinct sound and play a crucial role in functional harmony.
They create movement towards resolution, introduce tension, serve as chromatic passing
chords, o er colourful substitutions and facilitate modulation. Understanding these roles
enables e ective use of diminished harmony in various contexts.

Resolution
Diminished chords often serve to improve the sense of resolution in a progression. They
can create a strong pull towards the tonic or the next chord in the sequence. In voice
leading practices, diminished chords o er unique opportunities for smooth transitions
between chords. Each note in a diminished chord is equally spaced, allowing each voice
to move by step to the next chord creating a smooth ow. Take simple progressions
incorporating diminished chords. Pay attention how they add tension and movement to
the progression.

Substitutions for Dominant Chords

Diminished chords can function as substitutes for dominant chords due to the shared
tritone interval, an important element in establishing tension and resolution. This
substitutions o er a richer sound than standard dominant chords and can lead to
engaging changes.

• Example: In a ii-V-I progression in C Major (Dm7- G7- Cmaj7), a G#° (G#-B-D-F)

can substitute for the G7, introducing a sense of tension before resolving to
Cmaj7. Practice substituting diminished chords and dominant seventh chords in
standard progressions.
• Quick Tip: Build diminished chords starting from 3rd, 5th, 7th and b9 of a
dominant chords. You can also change them into m7b5 chords.

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Diminished Subs

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Dominant & Diminished: Navigating Shifts

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 Chromatic Passing Chords
Beyond substitution, diminished chords excel as chromatic passing chords, connecting
diatonic chords by lling in the gaps with half step motion. This technique is particularly
e ective when looking for smooth voice leading. Let's take a look at how this can be
applied in a few di erent progressions.

Key Original Progression With Chromatic Passing

Chords

C Major Cmaj7 / Am7 / Dm7 / G7 Cmaj7/ C#°/ Dm7 Eb°/ G7

D Minor Bb G7 / Cm A7 / Dm Bb B°/ Cm C#°/ Dm

In the key of C Major, C#° acts as a chromatic passing chord transitioning from Cmaj7
directly to Dm7. This progression is further enhanced by Eb°, which serves as a chromatic
bridge, leading from Dm7 into G7.

In the key of D Minor, B° acts as a chromatic passing chord between Bb and Cm7 which
is a substitution for G7, while C#° connects the Cm7 to Dm, which is a substitution for A7.

Voice Leading Tips for Using Diminished Passing Chords:

• Common Tones: Look for common tones between the chords and the diminished
passing chord to ensure smooth voice leading.
• Stepwise Motion: Move each voice to the nearest note of the next chord if possible, to
create the smoothest transitions, consider all inversions.

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 The Diminished Scale

The diminished scale, with its distinctive symmetrical structure, o ers many harmonic
possibilities and allows for interesting transposing opportunities as the same ngerings
can be used at di erent positions. it is unique due to the symmetrical pattern of
alternating whole steps and half steps throughout the scale.

This scale can be categorised into two forms:

• Whole/Half Diminished Scale: Beginning with a whole step followed by a half

step, this scale is often associated with diminished chords. Because of the lack of
avoid notes everything repeats at the interval of a minor 3rd, so C° is
interchangeable with Eb°, Gb° and A°.

• Half/Whole Diminished Scale: It starts with a half step followed by a whole step
and this form is used over dominant seventh chords. Remember everything
contained within this scale is interchangeable: licks, phrases, patterns, etc. Since
the C, Eb, Gb and A diminished scales are identical, C7b9, Eb7b9, Gb7b9 and
A7b9 chords are largely interchangeable. This means that we can use the same
diminished 7th arpeggios as a 7b9 variation on four di erent Vdom7th chords and
can resolve them to any of their major I chords.

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When using the diminished scale over di erent types of chords, such as diminished
chords and dominant chords, the way its notes interact with the chord tones can either
align to reinforce the harmony or contrast to create tension.

Example with a C Diminished Chord:

Consider a C Diminished chord (C-E♭-G♭-A). If we apply the Whole/Half Diminished Scale
starting on C, the notes would be C, D, E♭, F, G♭, A♭, A and B.

• Alignment: The notes C, E♭, G♭, and A from the scale directly align with the chord
tones of C Diminished, reinforcing the chord's dissonant character and providing a
cohesive sound.

• Contrast: The notes D, F, A♭ and B introduce tension against the C Diminished

chord. D and F introduce a major second and a perfect fourth interval against the
root adding a bit of pulling e ect towards a minor sound. A♭, being a half step
away from the A in the chord, creates a rub that intensi es the tension. B, as a
major seventh against the root, introduces a signi cant dissonance which is
characteristic of diminished harmony but not typically part of a C diminished
chord.

Example with a C7 Chord:

Consider a C7 chord (C-E-G-B♭). If we apply the Half/Whole Diminished Scale starting on
C, the notes would be C, D♭, E♭, E, F♯, G, A and B♭.

• Alignment: The notes C, E, G, and B♭ from the scale directly align with the chord
tones of C7, reinforcing the chord's harmony.

• Contrast: The notes D♭, E♭, F♯ and A introduce di erent avours against the C7
chord. D♭, E♭ and F♯ create a at nine, minor third and at ve interval against the
root, introducing a bluesy quality. The A (major sixth) adds the melodic avour,
leading to a resolution either back to the chord tones or towards the next chord.

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Essential Patterns

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 Practical Applications in Bass Playing

The diminished scale and chords o er bass players a unique toolkit for enhancing lls
and creating engaging lines. These elements add variety and introduce colour, try to have
them in mind when you practice, you need to incorporate them into your playing.

• Diminished Arpeggios: Start by incorporating diminished arpeggios into your

lls. The alterations of diminished chords can create a compelling sound and lead
you to the new chord in a di erent way.

• Scale Runs: Utilise both the whole/half and half/whole diminished scales to
create runs that weave through the harmony adding a layer of sophistication to
your lines.

• Pedal Points and Drones: Use a diminished phrase as a pedal point to create a
static sound over di erent chords or you can move it around over a static chord.

• Fill Creation: Practice, write and play bass lls that incorporate diminished
arpeggios and scale runs.

Video Shorts

Four Diminished Bass Fills

Exploring Bass Fills with Diminished Substitutions

Diminished Phrase

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Diminished Licks

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Diminished Fills

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 Advanced Concepts in Diminished Harmony

This chapter explore advanced concepts that further exploit the unique characteristics of
diminished harmony. These concepts will challenge you to think creatively and apply
diminished harmony in new ways.

Triads Within the Diminished Scale

The diminished scale is a rich source of triadic possibilities, o ering a variety of sounds
that can be used to add colour, this is where this scale can really shine and it helps in
understanding the harmonic capabilities of the scale.

• Identifying Triads: Learn to identify and extract major, minor and diminished triads from
within both the diminished scales. Each triad o ers a di erent colour and can be used
to create contrasting textures.

• Triadic Superimposition: Practice superimposing these triads over di erent chords to

create complex voicing.

We have various triads, seventh chords and other structures from the scale. When you
extend the major triads into arpeggios, they become dominant 7th chords. The minor
triads evolve into minor 7th chords and the half diminished triads become fully diminished
7th chords. Here's a breakdown when playing against a C7 chord.

Root Major Triads Minor Triads Half Diminished Triads

C C Maj C Min C Half Dim

Eb Eb Maj Eb Min Eb Half Dim
Gb Gb Maj Gb Min Gb Half Dim

A A Maj A Min A Half Dim

G G Half Dim
Bb Bb Half Dim
Db Db Half Dim
E E Half Dim

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Transposing Opportunities
• Pedal Points and Drones: Due to their symmetrical structure, diminished chords are
excellent to create drones, tools for creating repeating patterns and phrases that can be
moved across the fretboard maintaining their harmonic character.

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Contemporary Approach

• Extended Diminished Chords: Extensions can be added to diminished chords to

change the sound slightly and the harmonic resolution. Experiment with di erent notes
but here some example:

Cdim added 9th going to Dm7 before closing to Gm7

Ebdim added 5th in between an A7 going to a D7

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 Practice Routine
To utilise fully the diminished harmony, consistent practice and exploration are essential.
This chapter provides a practice routine designed to help your understanding, to improve
technical pro ciency and inspire creativity.

Weekly: Monday to Friday

1. Diminished Arpeggios & Chord Construction - Understand and practice diminished

arpeggios and chord shapes, including their inversions. Start arpeggios across the
fretboard in di erent positions.

2. Diminished Applications and Substitutions - Practice diminished chords as

dominant substitutions and chromatic passing chords.

3. Diminished Scale & Patterns - Practice scale runs and various patterns to build
dexterity and familiarity. Focus on clean execution at increasing speeds.

4. Diminished Fills - Learn and practice lls, use various backing tracks and experiment
with di erent rhythmic and melodic combinations to nd your own lls.

5. Practical Application - Take a groove or a song you enjoy and apply all the concepts
you've practiced throughout the week.

Advanced Concepts - Each week, focus on a di erent aspect of the advance topics.

Week 1: Triadic exploration - Practice superimposing triads over di erent chords for
complex lines.
Week 2: Pedal points and drones using diminished chords to maintain harmonic interest.
Week 3: Extended diminished chords - Explore creating phrases with added tones.
Week 4: Case Studies - Choose an artist and piece that uses diminished harmony
e ectively, transcribe and analyse.
Week 5: Improvisation - Focus on using diminished harmony over various chords
progressions.

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 Final Words
The journey into diminished harmony doesn't end with the closing of this eBook. The nal
words are designed to fostering personal re ection and presenting creative challenges to
solidify and expand upon the knowledge gained.

Personal Re ections
Taking time to re ect on your learning journey helps solidify new knowledge and
recognise areas for further exploration.

Journaling: Keep a practice journal to re ect on your daily or weekly progress. Note any
new concepts learned, di culties encountered. This practice can provide insights into
your learning process and help you track your progress over time.

Recording: Regularly record your practice sessions. Listening back can provide insights
into your growth and areas that need attention. It's also a great way to document your
playing.

Improvisation Practice: Dedicate time to improvising with diminished scales, bass lines,
lls and solos. Record these sessions and listen back to identify moments that particularly
resonate with you. I remember studying the diminished scale for two months straight
everyday and in so many di erent ways, I really wanted to incorporate that sound in my
playing.

Video Tutorials

Mastering Diminished Substitutions for Killer Bass Fills

Diminished Bass Fills - Can You Play All Of Them?

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