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# symmetric studies: diminished

chapter two

Triads work well over diminished chords.I find it easiest to use pairs of triads In
Example 10 below, the four dominant chords can be derived in a few different ways. One
way is to think of the chords or triads to be one half-step below each of the notes in
the diminished chord:
Chord

Bdim7 B

Notes In Chord
D

## Triads 1/2 step below Bf

Df

Af

Or, you consider function. If the Bdim7 is functioning as a G7 f9 , for example, the
four triads would be derived from the four notes a 1/2 step below a G7 f9 chord.. The
same would be true for Bf7, Df7 or E7. Although four major or minor triads will sound
good on diminished chords the pair I find the most effective are the root and tritone
based on function. For example: Bdim7 = G7 ff9 = G and Dff triads.
Track 20

Bdim7
G

4
& 4
T
A
B

3
4
5

Bb

b
6
7
8

Db

b
b

4
6
6

7
9
9

Bb

3
#
b

Db

U
3

b b n

Patterns.

43

## symmetric studies: diminished

I like the sound of the two triads a tritone apart like in the third and fourth
measures in Example 10. These triplet figures fall nicely on the fretboard but there are
a lot of different fingering possibilities.
Track 21

Fdim7 Ddim7
Bdim7 A bdim7

G
6

b n #

Bb

Db

3
3
b # n

E
6

10

3 b 3 b

12

Bb

10

b
#

12

12

13

# 3

G
9

Bb

3
b

Db

Db

E
3

G
4

Bb

b

b

&
3

Db

T
A
B

E7(b9) D b7(b9)
B b7(b9) G7(b9)

3
3
3

#
b
b b b n # b

T
A
B

Or
3

4
& 4

12 13

15

15

3
b 3
b n

&
Bb

T
A
B

13

E
15

15 13

Db

G
12

12

10

12

Bb

E
9

12 10

Db
6

G
6

U
3
3
b # n
&

Bb

T
A
B
44

E
7

Db

G
4

b
b
3

b

Bb

E
1

b
b n
Db

G
3

Track 22

## Exercise 11 Triads in tritones / from 3rd up & 5th down

Gdim7 Edim7
Or
C #dim7 B bdim7
3

G b7(b9) E b7(b9)
C7(b9) A7(b9)
3

4
& 4 # b b # # #
Eb

T
A
B

3
b b

&

Eb

T
A
B

Eb
8

F#
8

3 # 3 #
#

11

12

10

3
#

n
# #
F#

14

A
11 12

3
b

Eb
11

F#

# # #

8

n
# #

A
8

10

C
8

F#

b b n #

14

14

15

3
# 3 b 3 b # # 3

# n

C
14 15

17

17

3
b 3
b # n

&
F#

T
A
B

15

17

17 15

14

14

F#

Eb

A
12

14

11

11

14 12

Eb

11

11

A
8

U
3

# #
#
&
F#

T
A
B

10

F#

Eb
6

b b n
#
Eb

C
8

# b b # #

# n
A

A
5

45

Track 23

Ab

F7(b9)

Ab

D
3

4
& 4

Ab

b 3

Ab

# #

b b

45

b n # ##
b

# #

10

11

Ab

# #

9 10

10

n b

1 2

bn# # n #
b

T
A
B

11

12

7 8

10

10

Ab

# # # b 3 b

# #

&
3

T
A
B

10

11

10 11

13

13 14

13

13 14

16

14

16

16

Ab

16 14

13

13 11

13

13 11

B
3

10

3
10

10

10 8

3
7 5

10

Ab

D
3

3
3
# # n b 3

b # n
#
b w
&
#
n b
3

T
A
B

Ab

10

11 9

b b n #

&

Ab

Ab

b b n # #

#
# #

D
b

#
b

T
A
B

4 5

Ab

10

11

Ab

b n # #

10

b b n #

&

46

T
A
B

10

10 11

10

10 11

13

13 14

13

13 14

16

16

17

9 10

16

16 17

19

19

16

11

12

## symmetric studies: diminished

In the next two exercises I ve tried to keep the chords and arpeggios on one string
set. Staying on the same string sets will give a smoother, more flowing sound to the big
interval jumps found in these triads arpeggios.
Track 24

## Exercise 12a String set exercise

G bdim7 E bdim7 Or

F7(b9) D7(b9)
B7(b9) A b7(b9)

4
& 4 ..

b
b

# #

b b

Ab

Ab

4
5
6

6
5
7

7
8
9

9
8
10

10
11
12

12
11
13

T
A
B

. 12
.3

3
2
4

# #

b b

# #

Ab

13
14
15

15
14
16

13
14
15

12
11
13

10
11
12

9
8
10

7
8
9

6
5
7

&
T
A
B

ww
w

Ab D

T
A
B

4
5
6

3
2
4

Ab

# b b n n #
b

# b
n

1
2
3

b
& b # n

Ab

1 3

Ab

4 6

Ab

10 12

11

10 12

T
A
B

15

14

13 15

14

16 15

14

3
1312

11

13

12

11

3
10 9

10 9

7 6

43

13

3
U

3
# n # # # b b # n

w
b n

&
# n
3

11

4 3

..

.
.
47

Track 25

Or

G bdim7 E bdim7

F7(b9) D7(b9)
B7(b9) A b7(b9)
Ab

Ab

D
B
#
b
b

#
b
b b
#
4 ..

& 4
#
F

T
A
B

.
.3

7 8

10

11

12

10

10 11

12

11

13

Ab
F
F
B
D

#
b b
n

# # #
#

&
F

T
A
B

15

14

13

13 14

Ab

15

16

15

b b #
& b
T
A
B

14

Ab

14

13

11

10

Ab

11

13

11

12

10

10 8

10

7 5

10

10

10

Ab

12

14

13

12

13

b
#

b
#

11

13

13

48

11

10

15

14

13

11

12

Ab

n
#

10

w
8

b b #

n # # #
b b
& b
#

T
A
B

n
#

#
#
#
#

12

b b n

n
& b
T
A
B

13 11

10

10

12

## symmetric studies: diminished

This is an example of how you might use these major triad pairs in context.
Track 26

E bMAJ 7

F #dim7

Fmi7

Edim7

b 4
n

n
n
& bb 4
n #
J
#
b
T
A
B

8 5

Gmi7

bb
11

11 8

bb . J .
J
& b
T
A
B

10

11 8

n # n

10

8 11

10

11 10

11

Edim7

n # n n
#

#
n

10

9

11

11

10

A bMAJ 7

10

11

Gmi7

# #
n

8 11

7 10 9

C13(b9)

n # n J .

10

E bMAJ 7

#
b n

& bb
8

8 6 8

10 8 10

F #dim7

Fmi7

T
A
B

Gmi7(b5)

10 8 10 8

B b13(b9)

Fmi7

.
b
J

b
10 10

5 6

A bMAJ 7

&
T
A
B

8
10

E MAJ 7
Fmi7
B b13(b9)
w
bGmi7(b5)
n # C13(b9)

# n n n # b
n
n
bb
& b
3
3
3
u

T
A
B

11 10

11

11 7

10 9

11

9 8 9 8

9 10
9

11

10

11

10

49

#nn

bbb
&

## symmetric studies: diminished

8
8 I 9find it a better sound
8
as well but
to toggle between7
11 10
11
11 7
8
8 11
9 8 9 8
T
major and minor triads in just one pair rather than two.10For
9 instance:

A
B

## C7 ff9 =C Maj. & min. and Fss Maj. & min

Because the chords are an equal distance apart tritone , you can use these triad
pairs for two different chords.
Track 27

## Exercise 14 Triad pairs w/ major-minor toggle

Dim.7 chords = B, D, F, A b

C13(b9) F #13(b9)

4
& 4

# # #

#
#

## Minor to major 3rd

T
A
B

T
A
B

6 7

&

5 8

11 12 8

8 10 11

# # # #
#

11

11

8 9

10

10

# w
#

# ##

# # # #
6

6 7

8
10

9
8 9 11

13

10 11

14

12

13

14

14 15

14

12

Dim.7 chords = B b, D b, E, G

F13(b9) B13(b9)

# N

# # N #
& # #
# #
T
A
B

6 7

10

9 10

12

10 11 14

13

9 10

8 7
7

6
6 7

# #

# #
#

# #
& N #
#

Nw

T
A
B
50

5
8

7
6 7 9

8
7

10

9 10 12

14 10 11

9 10

8
10 7

7
9

6 7

5
8 5

## symmetric studies: diminished

Exercise 14 page 2
Dim.7 chords = A, C, E b, G b

B b13(b9) E13(b9)

b n bn b

b
4
b

& 4 b n
b
bn
b
T
A
B

4 58 7

6 7

8 9

11

9 101312

8 9 12

6 7

69

b n

& b n b b b n b
b
T
A
B

4
8

5 7

6
8

7
6

79

7 12

8 9

Dim.7 chords = A b, B, D, F

E b13(b9)

A13(b9)

8 5

5 8

4 587

b # b # bn
b

b b #
b #b
bnb
&
b

T
A
B

4 7 6

4 5 8

7 8

10

9 12 11

10

7 8

4 5

b b n b n b b #
b b
#

& bb bn b n b #
#
#
T
A
B

7 3

8 4 5

7
9

9 10

5
7

6
5

6 8

7 8

10
11

10

11 12

11

11

51

## symmetric studies: diminished

Exercise 14 page 3
Dim.7 chords = E, G, B b, D b

A b13(b9)

D13(b9)

b # b

b #
b #
4
b b
& 4 # b
T
A
B

10

11

9 10

7 10

7 8 11

7 10 9

13 14 10

b b b #b
& # b
#
T
A
B

10

9 11

9 10

7
9

9 10

10
7 9
10

10

7 8

10

7 9 10

b
b
#
11 7 8

10

7 10

11

11

10 7 8 11 10

G13(b9)

b b b b n
b

&
b b
b

T
A
B

12 13 9

7 10 9

9 11

b b b n
b
b b
&
b

b b n b
T
A
B

b b n b b
b
b

& b n b
T
A
B
52

8
9

9 10

10

11

7 12 13

U
w

Track 28

C #dim7

CMAJ 7

Emi7

D dim7
Dmi7
#

j
#

b b b b n #

4
& 4 J

T
A
B

9 10

9 5

5 78

7 10 8

Emi7(b5)

G13(b9)
A13(b9)
b b
b Dmi7

J
b b
b b b n n
J
& J
FMAJ 7

T
A
B
2

7 5 7

C #dim7

CMAJ 7

6 8

6 5

D #dim7

Dmi7

Emi7

b b b
b b n b N .

J
b
J

&
T
A
B

7 6

10

8 5 7

5 6

7 5

8 5

FMAJ 7

A13(b9)
G13(b9) b n
Dmi7
Emi7(b5)
b
b n b

n
j

. b
b n . J b b

&

T
A
B

7 10 8

6 5
7

5 6

D #dim7

Emi7
.

b b n
J

b
J
&
b N b

T
A
B

C #dim7

CMAJ 7

5 7

5
7

7 5

8 5

Dmi7

6 5

Emi7(b5) A13(b9)
Dmi7
b. b n b

&
FMAJ 7

5 7

7 5

10 8

CMAJ 7

G13(b9)

w
b n w

b
u

T
A
B

8 8

5 7

5 8

5
8 5

6
5
5

7
9
8

5 6
6

6
7

8
9

53

Track 29
1

Fmi7
b

b
b b b

j

4 b b n

& 4
J
Gmi7(b5)

T
A
B

C13(b9)

10

Dmi7(b5)

Gmi7(b5)

Dmi7(b5)

9 10

11 10 11

G13(b9)

C13(b9)

10

10

Fmi7

b b
b

b b
b n

&
T
A
B

11 8

CMAJ 7

b
b b

10

8 11 8

11

G13(b9)

b b J

&
T
A
B

11 9

8 10 11

.
.
J

11

10

10

CMAJ 7

b n . J # n

b

j
b b.
b n
J
&
b
T
A
B

Cmi7

11

10

10

54

10

10

10

B bMAJ 7

10

10

A b7

b b b
&
6

11

# # b b

E bmi7

T
A
B

F13(b9)

b b

J
&
T
A
B

Dmi7

G7

Etude 4 page 2

Gmi7(b5)

C13(b9)
b n Fmi7
b

b
b

J
b

&

T
A
B

11

Dmi7(b5)

.b
& b
J
T
A
B
2

11

10

& b J b J
T
A
B

11 12

11

10 10 9

10

10

G13(b9)

CMAJ 7

b b n

Gmi7(b5)

11

10

10

11 12

10

C13(b9)

Fmi7

b b n
b n

.
J b b

10

Dmi7(b5)

10 11

10

G13(b9)

& b

10

b
8

11

CMAJ 7

b
b b n

T
A
B

Gmi7(b5)

C13(b9)

b b b

b
b

10

10 7

10

5
6
6

6
8
8

9
11
11

Dmi7(b5)

10

Fmi7

b
b

9
8
8

&
T
A
B

8
8
9

6
6
7

G13(b9)

9
8
8

b
n
b
J
9
9
8

CMAJ 7

..

& . b J
T
A
B

9
9
8

8
7
6

b b b b
b J
8
7
9

6
6
6

9
9
9

7
7
8

..
.

10

55

Etude 4 page 3

Cmi7

& b b
T
A
B

6
8

b J
&

56

10

Dmi7

G7

. J . J

Fmi7

b b b n

b b

Dmi7(b5)

T
A
B

C13(b9)

. b

J
& b
6

Gmi7(b5)

b b n

&

T
A
B

A b7

b b
6

b n

E bmi7

T
A
B

B bMAJ 7

F13(b9)

11

G13(b9)

b n
b

n
#

CMAJ 7

ww
w

10

10
10
11

10

## tritone pairs with f5 to 5 toggle

Notice how this toggle gives a leading tone to the root of the next chord.

Track 30

F#

C13(b9)

F#

F#

F#

# # #

4
# # #
& 4 # # #

b5 to 5

T
A
B

3 5

4 5 4

Track 31

F#

C13(b9)

6 8

7 8 7

7 8 7

# # Nw

4 5 4
6

F # #

F#

F#

#
#
4

#
& 4 #

# #
# #
#
#

T
A
B

9 10 7 9

F#

10 11 8
8

11

9 10

8
9

9 10 7 9

8
9

11

10

F#

9 10

8 10 11

11

11

9
11 9 11

10

F#

# #

10

9 11

F#

8
11

11

# # # n
#
# # # # Nw

&
7

10

10 11 8

# #

F#

# F #

#
T
A
B

9 11

8 10 11

11

F #
F #
C

& # # # #w
T
A
B

11

# #
#

9 10 7

9 11

F#

& Nw
T
A
B

10

10 11 8

11

11

11

11

10 11 8

11

10

10

9 10 7

10 11 8

57

Track 32

B b13(b9)
Bb

Bb

Bb

Bb

n # n #

bb 4

n
& 4 # n n # #
n # n

T
A
B

4 5 8

Bb

6 7

Bb

6 8

Bb

Bb

Bb

E
# n #
n

9 10 6

Bb

7 8

Bb

# n Aw
n

bb

&
# n A

T
A
B

Bb

bb # n
n

n # #
&
# n

T
A
B

Bb

58

9 10 6

6
8

Bb

E
B
E
B
E
# #

n n n n
b
b
&
#
n # n n b

T
A
B

Track 33

Etude 5

G #dim7

Ami7

Bmi7(b5)

changes

Bb

Gmi7

E # b
#

.
4 J .
& 4
J
T
A
B

OGrande Amor

E7(b9)

C7

. J .

5

Ami7

Eb

A7(b9)

#
&
T
A
B

#
Bb
4

# b
b b

E
6

Dmi7

b n n
7

10

G7(b9)
G

Db

5
7

CMAJ 7

b
. j
b

& . J
b b n
T
A
B

B bMAJ7(#11)

.
J

Bmi7(b5)

.
J
Bb

10

10

E7(b9)

.
.
J
J

&
T
A
B

8
9

8
10

.
J
9

# . J
6

# b n
6

59

Etude 5 page 2

G #dim7

Ami7

. J .
4
J
& 4
5

T
A
B

Gmi7

C7

b
b n .
J
9

j # #

#. #
F#

b
A b n b b n b
b n b n b b B n
b

b b
&

Bmi7(b5)

T
A
B

E7(b9)

E
6

.
J
8

B
7

B bMAJ 7

T
A
B

60

10

F
9

10

10

Bb

CMAJ 7
/E .

10

10

10

10

Ami7

FMAJ 7

# b n
b #
E

E7(b9)

Bmi7(b5)

.
J
&
8

A7(b9)

Eb

b b n

&
T
A
B

E bdim7

Dmi7

A7(b9)