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Playing over diminished chords.
This is a question regarding diminished chords. I use them quite a bit and was wondering if anyone might know the best scale( besides diminished) to play over them without creating so much dissonance as there is already plenty in the chord itself. Thank you for you time. Perhaps this may be a modal question.
Replies to This Discussion
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Permalink Reply by Matthew Scott on -
I am used to theory in German, but I will try and give some suggestions, I hope they will help.
Whilst playing a half diminished chord, one option I stumbled actross is using the Melodic Minor scale a minor third above the half diminished chord.
e.G A-7/b5 lets you play a C Melodic minor scale giving you interesting chords such as F7#11or A-7/b5/add9
or the typical chords for Melodic Minor 1 2 b3 4 5 6 7 to play around with.
C-maj7 D o7 Ebmaj/#11 F7 G7 A-7/b5 B-7/b5
Otherwise I would use semi tone whole tone scales or
whole tone semi tone scales
Let me know if I was any help at all, would be nice to know :)
Greetings from Germany
Matthew -
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Permalink Reply by Matthew Scott on
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Sorry the whole tone semi tone scale wouldnt work I could not correct it as 15 minutes had passed by ;)
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Permalink Reply by Simon Godden on -
It really depends on what key you are writing in. Diminished chords have their place in harmony, but they are best used with some discipline. As far as the diminished 7th goes, there are only 3 variations (and their inversions). They are:
1. C - Eb - F# - A
2. C# - E - G - Bb
3. D - F - Ab - B
If you were to raise the highest of these notes, they would become half diminished 7ths (the same shape as II7 in the minor key).
However, if you are using them freely as you stated, your melody, rather than adhering to a certain scale, would be better shaped around the chord itself. Therefore, for example, if your chord was a quarter note, and your melody was broken into sixteenth notes, it would be best to restrict the notes in your melody to that of the chord with notes adhering to the key you are writing in, in between them. But make sure your tune resolves smoothly to the notes of the next chord (supposing your next chord is also a diminished/half diminished 7th). What I mean is, avoid intervals such as the augmented 2nd or augmented 4th (unless that is exactly what you are after, of course).
I hope this helps. -
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Permalink Reply by Bill Ricci on -
Thanks guys ! That is very helpful.
Simon Godden said:It really depends on what key you are writing in. Diminished chords have their place in harmony, but they are best used with some discipline. As far as the diminished 7th goes, there are only 3 variations (and their inversions). They are:
1. C - Eb - F# - A
2. C# - E - G - Bb
3. D - F - Ab - B
If you were to raise the highest of these notes, they would become half diminished 7ths (the same shape as II7 in the minor key).
However, if you are using them freely as you stated, your melody, rather than adhering to a certain scale, would be better shaped around the chord itself. Therefore, for example, if your chord was a quarter note, and your melody was broken into sixteenth notes, it would be best to restrict the notes in your melody to that of the chord with notes adhering to the key you are writing in, in between them. But make sure your tune resolves smoothly to the notes of the next chord (supposing your next chord is also a diminished/half diminished 7th). What I mean is, avoid intervals such as the augmented 2nd or augmented 4th (unless that is exactly what you are after, of course).
I hope this helps. -
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