#1
So i know a lot about the construction of chords such as diminshed, augmented, 11ths, b13th, b9th etc etc...
I also understand where i should/could technically be able to extend chords or alter certain notes.
However it takes me a while to work out where i could throw in a diminshed chord for example, and was hoping people on here might be able to give me a couple of simple rules, or examples of progressions, using one or two of these different chords just so i have a few ideas that i know will work and sound effective.
preferably including dimished or augmented chords. or extended chords with flat or sharp, 9ths or 13ths.
any help will be appreciated.
Doctor: Wait a minute, Brian, you have a pre-existing relationship with this degenerate?
Peter: A degenerate, am I? Well you are a festizio! See, I can make up words too, sister.
Last edited by mooney141 at Oct 12, 2009,
#2
a study of jazz harmony will help you in your quest for chords with extensions and alterations and their use..and in all aspects of modern harmony

in jazz the diminished 7th chord is often converted to a 7b9 chord a half step lower(Bb dim7=A7b9 which then opens many possibilities with this chord

play well

wolf
#3
Quote by mooney141
However it takes me a while to work out where i could throw in a diminshed chord for example, any help will be appreciated.

Diminished chords are handy for creating the sound of chromatic root movement from one chord to another, like this simple progression:

Cmaj7 / Dm7

add the Dim chord

Cmaj7 / C#dim7 / Dm7

It doesn't have to be between a maj7 and m7 chord like above, try it with anything.

Also, look out for the tritones that diminished chords share with dominant 7th chords. You can always substitute one for the other.

Example, the notes B and F in G7 are a tritone apart. These notes are also present in Bdim7, Dmin7, Fdim7 and Abdim7.
#4
It's all about resolution. Find out where the different chords want to resolve to, and you make substitutions.
Diminished and halfdiminished chords for example usually want to resolve a half step up. Try substituting a dominant chord with a halfdiminished chord, like this:
G7 - C -> Bø C

What a Wonderful World can be harmonized using a halfdiminished chord just to mention an obvious example.
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#5
ok some good advice in there thanks guys
Doctor: Wait a minute, Brian, you have a pre-existing relationship with this degenerate?
Peter: A degenerate, am I? Well you are a festizio! See, I can make up words too, sister.
#7
Quote by mdc
Example, the notes B and F in G7 are a tritone apart. These notes are also present in Bdim7, Dmin7, Fdim7 and Abdim7.


Dmin7 - D F A C

D to F is a minor third. D to A is a perfect fifth. D to C is a minor seventh. F to A is a major third. F to C is a perfect fifth. A to C is a minor third.

There is no tritone in a min7 chord.

EDIT: Also, when talking about diminished seventh chords, it's necessary to denote whether it's fully diminished or half diminished.
Last edited by timeconsumer09 at Oct 13, 2009,