# Half Diminished Chords – This is how to use Quartal Arpeggios

Half Diminished chords are difficult to get used to and hard to improvise over. In this video I am going to go over some of the Quartal arpeggios that work great for m7b5 chords and show you how to easily add them to your vocabulary. I also go over some examples of how you might use these arpeggios over a half diminished chord in a minor II V I cadence.

## Half Diminished Chords in a Minor Cadence

The examples in this lesson are all on a II V I cadence in Dm:

Eø A7alt Dm6

The first example is using two quartal arpeggios on the Eø, and another two on the A7alt.

The first quartal arpeggio is from A: A D G, which gives us a m11 sound over the Eø with 11(A), b7(D), b3(G). The second one is from the b5: Bb E A basically spelling out a m7(b5(11) chord with the b5, root and 11th in the arpeggio.

On the A7 altered I am using a quartal arpeggio from C and then one from C#. The one from C# you may recognize as the top part of an A7(#9).

### Quartal arpeggio Exercise no 1

If you want to work through the Quartal arpeggios for the Eø in this key (which is D minor), then you can check out the exercise here below which includes the two I used and is covering all diatonic quartal arpeggios in the scale on the middle string set.

## Quartal arpeggios moving in 4ths

This example is again using the Quartal arpeggio from the b5: Bb E A, and then continues with the quartal arpeggio from E on the next string set: E A D. This way of connecting the arpeggios in 4ths gives us two common notes between the arpeggios. It also creates a movement with a large range.

The A7 altered line is a scale run from the root ending with a chromatic phrase that resolves to the 5th(A) of Dm6.

### Quartal arpeggio Exercise no 2

To check out the arpeggios on the top string set you can play through this exercise. Notice that if you do this with alternate picking it is really a great way to develop flexibility!

## The Maj7 Arpeggio from the b5

The Maj7 arpeggio from the b5, in this case a Bbmaj7 arpeggio, is making a guest appearance. This arpeggio is often overlooked but is a perfect fit for the Eø sound. In this example it is chained together with the quartal arpeggio from the root: E A D.

The A7alt lick is turning around on the #9 and then descending down the scale. Before resolving to the 9th(E) of Dm6 it catches the C# on the A7.

## Half diminished dilemmas?

The m7b5 or Half diminished chord is one of the chords I get asked about most often, so I hope you can apply some of these arpeggios in your own playing.

If you want to see more videos exploring the options on a half diminished or m7(b5) chords then leave a comment on the YouTube video or send me a message via e-mail!

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