Everybody find Diminished chords troublesome to play over, but actually it is not as difficult as you think. In this video I will go over how I improvise over a diminished chord and give you the tools and knowledge to add it to your guitar solos.
Three main types of Dim Chords
A diminished chord is a collection of notes that always want to resolve. They are never used as a tonic chord, but always as a means of tension towards or suspension of another chord. The first thing to notice is that diminished chords have different ways to resolve, in fact there are three main types of dim chords resolutions you will come across. These are shown in example 1 here below:
Dominant Diminished Chords
The first diminished chord is a G#dim resolving to an Am7. This Dim chord functions as a dominant and could easily be replaced with an E7.
I assume you know how to play a dominant resolving to a minor chord like E7(b9) to Am, so I won’t spend a lot of time on this type in this lesson.
Sub-Dominant Diminished Chords
The other two are #IV diminished chords. These are not dominants but are sub dominants and resolve in a different way. The easiest way to think of them is as #IV dim, but you are also (or most even) likely to come accross them in inversions (as you will see in the examples)
The two most common progressions where you will come across these are the #VI-I and #IV-IV. In the first case the Fdim to Fmaj7, where Fdim is an inversion of Bdim, which is #IV in F major.
The last part of example 1 is a #IV dim chord (Ab dim or Bdim/Ab in this case) resolving to a subdominant chord: Gm7. This is a very common dim chord to encounter in turnarounds and is also found in a lot of standards like The Song is You or Embraceable You.
So we have three types of progressions where one is easy to play because we can treat it as a V I progression.
How to not use the diminished scale
The scale that you need to use in a context not the diminished scale. Primarily because the diminished scale is a symetrical and synthetic construction and not really what fits any type of tonal song. Most jazz standard progressions, where we find the diminished chords, are tonal.
The best way to approach this is probably to take a look at the scale that is the key. In this case that is F major as shown in example 2. If we alter this scale to contain a Dim chord then we get either an A harmonic minor scale or you could also choose a C harmonic major scale.
The Secret Trick to Dim Chords
The secret trick in this case is to use the target notes that we associate with the V I resolutions, so in this case we coud resolve the dim chord to an A or a C over the Fmaj7 or Gm7. In Example 3 I have written out some simple exercises so you can hear how it sounds.
It’s all about target notes
So instead of making lines that resolve to the basic chord tones of the chord you can make lines as if you are resolving a dom7th chord and get used to how they sound over the chord you want to resolve to.
Idim – Imaj7
This type of progression is fairly common in songs like “I Remember You” or “You Do Something To Me”
Using the target notes of A and C in this situation is not so difficult since the A and C are both chord tones on an Fmaj7: F A C E.
Below are to examples of simple lines resoving to first the C and then the A.
The material I am using on the Bdim is really spelling out an E7(b9). E7(b9) is of course also what you are left with if you take an A harmonic minor scale and leave out A and C.
The bIII dim resolving to IIm7.
This is usually the dim chord situation that is causing the most problems. It is also the example where you end up playing towards extensions over the II chord that you are maybe not as used to resolving to or hearing.
The first thing you want to be used to is the sound of the dim chord resolving to Gm7 as I wrote out in example 3.
For the bIII dim chord I have a few different examples. The first two are in the context of a III bIII II V I progression.
1st Turnaround example
The Am7 line is a basic Am triad which is followed by a dim arpeggio from B to Ab. The Ab is then resolved to A on the Gm7. The A is then used as a top note in an Bbmaj7 arpeggio.
2nd Turnaround example
The 2nd turnaround example is using the C over the Gm7 chord.
The line starts with a scale run from A to C on the Am7. The Abdim line is a descending arpeggio run from the 3rd(B). On the Gm7 the line first resolves to C, which is the target note, and from there continues with a Bb major triad played in a 153 pattern.
Longer bIIIdim lines
To help you get used to the sound I have also included two examples where you can hear the resolution and I am adding the chord under the target note so that you can easily hear how it resolves.
The first example is using a dim arpeggio pattern followed by an E7 arpeggio that resolves to 9th(A) over Gm7.
The second example uses a similar arpeggio pattern that is followed by an E7(b9) fragment. This resolves to the 11th(C) on the Gm7 where I again have added the chord under the target note.
How to work on this material
The important thing is that you train yourself to hear how these target notes work and sound over the chords and in that way get the lines that you already have in your system as dominant lines to work in this other context.
Adding the chords under the target notes or just sitting down to voicelead chords towards with the target notes in the melody can be very useful besides all the exercises I covered in this lesson!
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