A fully diminished chord is very similar
to the half diminished chord,
except the seventh,
instead of being a flat seven,
is a diminished seven.
So in the key of D, our flat seven is C.
But our diminished seven is B.
So we have a root, [NOISE] a flat third,
[NOISE] we still have our flat five,
now we have a diminished seven.
All of these notes are a minor
It's called a symmetrical chord,
because it's the same distance
between every interval.
In order to play this as a chord,
the default fingering is
actually the same for
the half diminished chord
when we leave out the third.
Which is two, one, three.
We've got the root,
the flat fifth, and the third.
So you know that shape.
However, to bring out the fact that
it is fully diminished, you probably
wanna use the fourth finger [SOUND] on the
G string to play that diminished seventh.
The diminished C which
will sound like a B.
So you could finger that, two,
Or you could finger it, one, three, two.
Whatever you need in the moment.
One, three, two, is more comfortable,
but if you finger it two, four,
three then actually you still
have access to that flat five,
if you like alternated between fourth
finger and first finger on the G string.
[SOUND] Can you hear these two notes?
This is helping me fill in the harmony.
Of the fully diminished sound.
The cool thing about the fully diminished
chord is because it's a symmetrical
chord all the inversions,
because they have the same intervals,
have the same exact hand shape.
So if I was going to move one, three, two.
If we were going to play
it with that hand shape,
if I move up a minor third so
my bottom note is F.
I get first inversion with the same
exact hand shape and I'll repeat that.
I'll move up another minor third so that
the flat fifth is on the bottom, A flat.
Basically, I can just keep moving this
minor third up so
that each quartone is in the bottom and
I don't have to change
my hand shape at all.
So that sounds like this.
It's a great sound and
like you'll find like in classical music,
this was is a really widely used
harmonic convention like particularly
in like virtuosic show pieces or
in like cadenzas because it's
really easy to like do something
fancy in one inversion and
then keep moving it because
it's all the same hand shape.
You know, and.
Anyway it's a really fun sound to explore
because anything you do in
one inversion you can repeat
exactly in the other inversions.
And it sounds really impressive and
it builds a lot of tension.
So that's the diminished sound.