ExamplE1 DiminiSheD, 13 anD half-DiminiSheD chorD voicingS

Here are three sets of voicings that you will find useful in all styles of playing – jazz, funk, soul, country and blues etc.

(R-b3-b5-bb7) G Diminished chord voicings

Here we have a G diminished 7 chord moving up the neck in symmetric minor 3rd intervals. You only need three chord shapes to do this.

G-E-Bb-Db Sixth-string root = R b3 b5 =

-E-Bb Fifth-string root = R- 5- 7- 3 = G-D Fourth string root = R- 5- 7- 3 = G-D -E-B . The diminished 7 chord can be named with any note as the root, so Gdim7 is also B dim7, D dim7 and Edim7.

9TVEoiCciHngNsIQUES

Gdim7 is derived from the G Diminished scale and partners well with a

dom13b9. voicing of a G Both chords are used over ‘moving’ or ‘resolving’ V chords. Let’s look at this relationship in a better key, up a semitone. G13 9 to A dim7 (up a semitone A dim7 or down a tone to Fdim7). Looking at them as G dominant chords, using top four strings voicings we get: Abdim7 (F-B-D-Ab

= Gb13b9 (F-B-E-Ab

= Only one note is different (E), but it fits into the F diminished scale and gives a convenient ‘tone’ movement between the D and E.

Gm7 5 or G half-diminished chords in 5 shapes (R- 3- 5- 7)

This is the m7 5 or half-diminished chord moving up the neck following CAGED shapes. There are several other good voicings but this is a starting point set that relates well to the m7 voicings you would already know.