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Jazz Guitar Lessons: Diminished Chords & the Dominant 7th

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I wanna take a moment to talk about
the diminished chord and its relationship
to the dominant seventh chord.
The dominant seventh chord is so
important in Jazz.
And diminished chord is very
closely related let's say
to the dominant seventh chord and it's got
some characteristics especially one char,
characteristic that makes
the dominant seventh
chord a little juicier,
that's what I want to get into here.
You seem what I mean in a minute.
We talked about diminished triads, when we
were talking about the six positions and
we were talking about, you know,
discovering, arpeggios.
Through our number position way back.
You know, if you have a, an arpeggio,
a major arpeggio in A,
you lower the third,
it becomes a minor arpeggio triad.
If you lower the fifth,
there's your diminished triad.
Right so
and the construction of it is cool it's
all minor thirds.
now what happens if you
add a minor third to that?
You get a diminished seventh for it.
So there's four notes.
It's a very cool chord lot
of cool things about it.
We're in the key of A, right?
So we go to A to C that's a minor third,
C up to E flat.
That's another minor third.
And then I said I want to add another
It takes you up to F sharp.
And if you go up a minor third from that,
it gets you back to A.
Which is kind of perfect, in a way.
It's like a little quadrangle
four notes and they're exactly equal.
I love the, the visual of that
It divides the octave into one, two,
three, four exact equal parts.
And because it divides
the octave in those parts,
if you take the A diminished chord
and move it up a third and
now it's a C diminished chord
it's the exact same notes.
Only in a different order
starting on A, it goes A, C, E flat,
F sharp, A.
If I move it up to C
it starts on the C, but
it goes E flat
F sharp, A again, and then to C.
Well, guess what, it happens on E flat too
and of F sharp
There all exactly the same notes, so
if you take a diminished cord
use a diminished voicing, right.
Use the A diminish with the A on top
We'll see it's an F sharp diminish
cause the root is an F sharp
Any one of those notes can be the root by
the way,
because they are all the same.
And I just move it up in minor thirds,
because each interval is a minor third.
It sounds really cool.
Sounds a little bit like when somebody
is tied to the railroad
tracks in a cartoon.
What's going to happen?
They're gonna get untied before
the train comes, dont worry.
Anyway, that is, you know, something that
you might hear Wes Montgomery actually
play in some of his scores.
It's a cool sound.
Okay, so now lets relate this as I said
to the dominant seven chord to the.
To see how we use it in jazz.
Well, it turns out
diminished chord is really cool.
If you take any one of the notes and
move it down a half step,
it becomes a dominant seven chord.
Pretty cool, right?
If I move the F sharp down to F,
it becomes an F seven chord
If I take the A and move down a half step,
it becomes an A flat seven chord.
If I take the C and move it down,
it becomes a B seven chord
And the E flat
move the E flat down to D
and it's a D seven chord.
Now, what in jazz a lot of people discover
is if you play the diminished chord and
just add the note a half-step lower,
you get a really cool chord.
Check it out it.
So, A, let's take, A diminished.
And I said, if you lower the root to an F,
I'm gonna have to,
I'm using some fancy fingering to do that.
I hammered on the F, so you could hear it.
What is that chord?
It's a nice juicy.
Dominant seven chord with a tension on it.
What it does is it adds a note
a half-step up from the root.
It adds the F-sharp.
And in affect, it becomes
an F seven flatted ninth chord.
An F seven flat nine.
Very important chord in jazz.
And the ninth.
If you remember,
we talked a little bit about the tensions.
If you continue.
Above the octave.
And just skipping a note each time.
You get those tensions.
The ninth is the first tension.
Tension is the notes above the octave,
another word for that.
So what we're doing is.
Making it a flatted ninth.
We're taking that 9th and moving it down
a step and it's a really juicy cord.
And in jazz what happens is that note
becomes a very nice leading cord.
Remember we talked about the magnet,
magnetism of the dominant seven cord.
This makes the dominant seven
cord even more magnetic.
Cuz you want to resolve it so much.
You just wanna
resolve it like that.
And we'll talk more about the diminished
chord in actually songs in a little while,
but I wanted to get that
concept out to you.
It's a very cool chord.
Play around with it.
See what those dominant,
related dominant chords are.
Play around with it in
different parts of the neck.
And let me know what you come up with.