Diminished Parental Form: Dom7

0:53
Demonstration
0:48 E‡…‹7 E‡…‹7 E‡…‹7 E‡…‹7 E‡…‹7 E‡…‹7
3fr 3fr

° 4 1w324 2413 2314 1324

w 2 131 2131
w
w
& 4 bw bw
w bw
w
w
n
bww
w
bbw
w
w
w
bw
w bw bw bw
w w
3 3 3
4 2 5 3 2 5
3 3 3 3 3 3
4 2 2 5 2 2
¢⁄ 4
3
4
3
4

1:02 1:22 1:49

1:41
E‡…‹7 E¨7 A7 C7 G¨7
1:35 2fr

1324 1324 01112 2314 1211

° bnw
w w
bbw #˙˙˙
w
bnww
b
bb ww
& ww
w
bw n˙ w bww
˙
3 3 3 3 2
2 2 2 1 2
3 3 2 3 3
2 1 2 2 2
¢⁄ 0

1:58
E‡…‹7 E¨7 A7 C7 G¨7
2fr

1324 1324 01112 2314 1211

° nbnw
w w
bbbw #w
w
w
bnww
b
bb ww
& w w w
w nw
w w bww

3 3
3 2
3 3
2 1
¢⁄
3 3 2
2 1 2
2 3 3
2 2 2
2
2:22 2:29
2:26 2:38
E¨7 A7 E¨7 C7 A7 G¨7
2fr 2fr

1324 01112 1324 2314 01112 1211

° bnw #w
w w #w
b
bb w
& b bw
w
w
w
nw
w
bbbw
w
w
bwnw
w
w
w
w bw
w
w

3 3 3 3 3 2
2 2 2 1 2 2
3 2 3 3 2 3
1 2 1 2 2 2
¢⁄

2:48
E¨7 A7 C7 G¨7
2fr

1324 01112 2314 1211

° bbnw
w #w
w
w
bnww
b
bb ww
& bww nw
w w bww

3 3 3 2
2 2 1 2
3 2 3 3
1 2 2 2
¢⁄
3:01 3:04 3:09 3:14
C7 C7 C7 C7
5fr 8fr 10fr

2314 1112 1211 1324

° bwnw bw w
w bw
w
w
w bw
& w w
w
w w w

3 6
1 5
3 5
2 5
¢⁄
8 12
8 11
9 12
8 10
 3
3:17 3:21
C7 C7 C7 C7
10fr 5fr 8fr

2314 1324 1112 1211

° w bw
w
w bw w
w
w w
w bw
& w
b w
w w w

3 12 6 8
1 11 5 8
3 12 5 9
2 10 5 8
¢⁄

3:31
C7 C7 C7 C7
5fr 8fr 10fr

2314 1112 1211 1324

° bww bw w
w bw
w
w
w bw
& ww
w
w w w

3 6 8 12
1 5 8 11
3 5 9 12
2 5 8 10
¢⁄

3:37
A7 A7 A7 A7
2fr 5fr 7fr 10fr

01112 1211
w #1w
324 2314
w
w#w
° #w #w
w
w
& w
w
w
w
w w w

3 5 9 12
2 5 8 10
2 6 9 12
2 5 7 11
¢⁄
4
4:01
C7 C7 C7 C7
5fr 8fr 10fr

2314 1112 1211 1324

° n w bw w
w bw
w
w
w
w bw w
& b ww
w w w

3 6 8 12
1 5 8 11
3 5 9 12
2 5 8 10
¢⁄

4:11
E¨7 E¨7 E¨7 E¨7
4fr 8fr 11fr

1324 2314 1112 1211

° bbw bw bw
w
b
bww
w bbww bbw bw
w
& bw
w w w

3 6 9 11
2 4 8 11
3 6 8 12
1 5 8 11
¢⁄
4:17
A7 A7 A7 A7
2fr 5fr 7fr 10fr

01112 1211
w #1w
324 2314
w
ww
° #w #w
w
w
&n w
w
w
w
w w #w

3 5 9 12
2 5 8 10
2 6 9 12
2 5 7 11
¢⁄
 5
4:23
C7 C7 C7 C7
5fr 8fr 10fr

2314 1112 1211 1324

° n w bw w
w bw
w
w
w
w bw w
& b ww
w w w

3 6 8 12
1 5 8 11
3 5 9 12
2 5 8 10
¢⁄

4:30
G¨7 G¨7 G¨7 G¨7
4fr 7fr 11fr

1211 1324 2314

bw b1w1 1 2
° bbbw
w bbbw
w
w bb ww bb w
bww
& bww bw b w

2 6 9 12
2 5 7 11
3 6 9 11
2 4 8 11
¢⁄
4:41
E¨7 A7 C7 G¨7
2fr

1324 01112 2314 1211

° bbnw
w #w
w
w
bnww
b
bb ww
& bww nw
w w bww

3 3 3 2
2 2 1 2
3 2 3 3
1 2 2 2
¢⁄
6

4:56 5:03
E‡…‹7 E¨7 A7 C7 G¨7
2fr

1324 1324 01112 2314 1211

° n nw w #w w b
bb w
& bww
w
bbw
w
bw
w
nw
w
bnww
w bw
w
w

3 3 3 3 2
3 2 2 1 2
3 3 2 3 3
2 1 2 2 2
¢⁄

5:08 5:14
E‡…‹7 F‡…‹7 F©‡…‹7 G‡…‹7
4fr 5fr

1324 1324

° nbnw b bw nw b n1w
324

w bww n #nw
w bw w
& w w w w w

3 4 5 6
3 4 5 6
3 4 5 6
2 3 4 5
¢⁄
5:16 5:19
C7 C7 A7 A7
5fr 2fr 5fr

2314

° bww b1w1 1 2 01112 1211

w
& w
w
w
w #w
w
w #w
w
w
w w

3 6 3 5
1 5 2 5
3 5 2 6
2 5 2 5
¢⁄
 7

5:21 5:24
E¨7 E¨7 G¨7 G¨7
4fr 4fr

1324

° bw b2w3 1 4 1211
b 1324

b bw
bbww bbbw w
& bbw
w w w
w w bw
w bw
3 6 2 6
2 4 2 5
3 6 3 6
1 5 2 4
¢⁄
 The following transformations reveal four separate V7 forms emerging from the parental !
!
diminished form. Like the augmented phenomenon, they spread horizontaly, as well as!
!
vertically throughout various combinations of strings across the guitar fingerboard.

THE DIMINISHED TRANSFORMATIONS

into V7 Forms

Source 4 V7 key centers

E, A#, C#, or G Dim D#7 A7 C7 F#7
3 2 1 3 2 1 3 2 1 3 2 1 3 2 1
6 6 6 6 6
5 5 5 5 5
4 4 4 4 4
3 3 3 3 3
2 2 2 2 2
1 1 1 1 1

HORIZONTAL
eg. 11
= the position of the Root

1st string 3rd string 2nd string 4th string

13 12 11 10 9 8 7 6 5 4 3 2 1
6
5
4
3 D#7
2
1

2nd string 4th string 1st string 3rd string

13 12 11 10 9 8 7 6 5 4 3 2 1
6
5
4
3 A7
2 V!
1 E!
R!
4th string 1st string 3rd string 2nd string
T!
13 12 11 10 9 8 7 6 5 4 3 2 1 I!
6 C!
5 A!
4
C7
L
3
2
1

3rd string 2nd string 4th string 1st string

13 12 11 10 9 8 7 6 5 4 3 2 1
6
5
4
3 F#7
2
1
These particular string groups provide what's needed to create a practical library of chord !
!
forms, along with their alterations, and inversions.!

eg. 23 Transformations of the Diminished Form!

to V7th and Mi7b5 Clusters

V7th (tones in descent)

6 5 4 3 2 1
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1

I
6543 6 5 4 3 2 1
II

II

II
II

A
G C# E Bb Dim F#7 C7 D#7 A7

6 5 4 3 2 1
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II

5432
III

III

III

III

B
G C# E Bb Dim C7 F#7 A7 D#7

6 5 4 3 2 1 6 5 4 3 2 1
4321
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
I
I

II

C
II
II

E Bb C# G Dim D#7 A7 C7 F#7

 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
6–432

II
6 5 4 3 2 1 6 5 4 3 2 1

I
D

II
II

G E Bb C# Dim F#7 D#7 A7 C7

6 5 4 3 2 1 6 5 4 3 2 1

6 5 4 3 2 1 6 5 4 3 2 1
II

II
5–321
III

III

6 5 4 3 2 1

III
E
C# Bb E G Dim C7 A7 D#7 F#7

Mi7b5 (tones in ascent)

6 5 4 3 2 1

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II

6543
II
II
II

II

A
E Bb C# G Dim Bbmi7b5 Emi7b5 Gmi7b5 C#mi7b5

6 5 4 3 2 1 6 5 4 3 2 1
III

III

6 5 4 3 2 1 6 5 4 3 2 1
5432
III

III

6 5 4 3 2 1
IV

B
C# G Bb E Dim Emi7b5 Bbmi7b5 C#mi7b5 Gmi7b5
 6 5 4 3 2 1 6 5 4 3 2 1
4321 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1

II

II
II
II

II
C
E Bb C# G Dim Gmi7b5 C#mi7b5 Emi7b5 Bbmi7b5

6 5 4 3 2 1 6 5 4 3 2 1
6–432
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II

II
II

II
II

D
G E Bb C# Dim Bbmi7b5 Gmi7b5 C#mi7b5 Gmi7b5

6 5 4 3 2 1 6 5 4 3 2 1
III

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
5–321 III
III

III

III

E
C# Bb E G Dim Emi7b5 C#mi7b5 Gmi7b5 Bbmi7b5

!
Finally, prior to an introduction for basic linear studies, it's important to add another !
!
consideration based upon the intervals of the guitars normal tuning: E, A, D, G, B, and E. The!
! !
intervals between these tones are as follows. E to A, (perf 4th) A to D, (perf 4th) D to G, !
!
(perf 4th). It's here, (between G to B) that the interval changes to a ma 3rd, then continues with!
!
B to E once again as a perf 4th. So far, (throughout these studies) the movement of single !
!
tones,
! (either in descent, or ascent) has proved successfull as a formula. It holds true when it's !
!
applied in vertical manipulations as well. A demonstration unfolds in the following examples. !
!