diminished harmony – Modern Music Theory Improvisation and Application

Harmonising Melodies with Diminished Chords: [Chord Melody]

Posted on August 28, 2026August 28, 2026 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Following on from our previous lesson, we will now exploit the diminished 7th chord from our harmonised diminished scale examples.

To recap, here, is our basic shape:

PART 1 Harmonising a Simple Melody

To begin with, let’s take a very basic fragment of melody:

Now, we will simply harmonise this with our diminished 7th shape:

Guitar tab displaying example of how harmonising melodies with Diminished Chords is so easy on guitar. Brilliant lessonthta's easy to understand

Notice, that straight away we have a sophisticated harmonic Palate and accompanying chord melody.

Let’s now stretch this further and broaden out on our diminished 7th chord shape by adding a couple of extra melodic notes:

Lesson in harmonising melodies with Diminished Chords for easy on guitar and all musical instruments

From here, we will now harmonise the same piece of melody with slash chords from our previous lesson/video [on harmonising the diminished scale]:

Guitar tablature displaying how to harmonise melody with slash chords from the diminished scale.

Lastly, here are two examples with diminished 7th chords from the 5th and 6th strings. Both harmonising perfect cadences.

From 5th string

From 6th string

Examples from Standards:

Below, we have an example from “Stella” where we have both the minor7b5 and the diminished 7th [also Dominant7th].

Music notation and guitar tab displaying example how harmonising melodies with Diminished Chords on jazz standards is easy.

In the next example, we have lots of colourful diminished 7th movement from the Gershwin classic “Someone to watch over me”.

Guitar tab displaying jazz standard example how harmonising melodies with Diminished Chords is so easy on guitar and all musical instruments

Here, is the same but with the original Ab13 chord

Ascending Melody Harmonisation

To conclude, we will harmonise a simple ascending melody and add passing diminished 7th chords and vary it:

Simple Melody:

BASIC MELODY/HARMONISATION:

Variation-Filled out:

Variation 2:

IN CONCLUSION

This was just a quick look at how to exploit melodies with the diminished 7th shape from our lesson on harmonising the diminished scale.

What you will notice, is how easily we can apply them as passing chords and colourful harmonic decorations to create really sophisticated accompaniments and chord melody functions.

For a really in depth take on this, it is a good idea to take a look at some Barry Harris material as this contains a huge wealth of possibilities. Also, for guitarists, Pat Martino’s approach to chords.

PDF DOWNLOAD

Dim chord 2 Download

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Easy Ways to Harmonise the Diminished Scale

Posted on August 21, 2026 by Modern Music Theory and Application

How to Easily Harmonise the Diminished Scale Lesson

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at an easy way to harmonise the diminished scale.

PART 1: The Diminished 7th Chord

To begin our study, let’s take the diminished scale and play it on the 1st [E] string of the guitar.

Notice, the half steps and whole steps of the scale.

This scale can now be harmonised with diminished seventh chords.

What’s equally amazing is that with this form we have a separate diminished scale starting on each note of the chord itself.

This in turn gives us four part harmony.

Soprano, Alto, Tenor, Bass. or S.A.T.B

image displaying how to easily harmonise the diminished scale with 4 part harmony like composer Bach.

The other interesting point, is that the first two chords of the scale incorporate all 8 notes of the scale:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with diminished 7th chords.

So, now let’s harmonise the scale fully with the diminished 7th chord shape ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony.

The key from here, is to accentuate an inner or outer voice.

In this case we will accentuate the Soprano [or top line] scale ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony all playing the scale

To continue our investigation, we will now accentuate the scale in the Bass.

image of music notation and guitar tab displaying how to easily harmonise the diminished scale

Now, as we look at the chord and scale within the S. A. T. B. we can see the full realm at our fingertips.

The ascending scale of each voice is in full view:

PART 2: SLASH CHORDS

Another useful device for harmonising the diminished scale is to employ the use of slash chords:

These, will be moving in minor 3rds with the scale on the top.

Below, we have a triad of F Major played over a Gb bass. This is then followed by a D Major triad played over an Eb Bass.

These chords, are now sequenced: Moving up in minor thirds whilst carrying the scale on top.

Music notation and guitar tablature showing how to harmonise the diminished scale with slash chords easily.

In the next example, we will use another diminished favourite:

The minor7b5: Or Half diminished:

We, will follow this with our B/C slash chord form our lesson a little while back:

Now, let’s view the full chord scale:

Be amazed!…..Yes, this works out in all 4 parts once again:

Music notation and guitar tab showing how to harmonise the diminished scale with slash chords

PART: minor 3rd Chord Movement

To complete this, here are the two most common chord movements in minor 3rds for our scale.

This is NOT harmonised, but still essential to look at as it really displays the minor 3rd movement in both major and minor tonality within this scale.

Minor 7ths moving in minor 3rds:

Dominant 7ths with sharpened 9ths moving up in minor 3rds:

CONCLUSION:

This was just a quick look at how to harmonise the diminished scale.

These concepts are quite basic in many regards but contain a wealth of power for both on the spot Re-harmonisation and 4 part voicing for composition.

Traditional harmony and as we can see in this blog/lesson contemporary harmony both work well for the task.

FREE PDF DOWNLOAD:

Dim Harmony Download

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!

Guitarist John McLaughlin’s use of the Diminished Scale for Chords and Improvisation:

Posted on March 12, 2025March 12, 2025 by Modern Music Theory and Application

Hi Guys,

Today, a look at how jazz guitar legend John McLaughlin makes cool and original sounding jazz lines from the diminished scale when improvising.

PART 1: CHORDAL SUBSTITUTIONS:

First of all, let’s apply a couple of Dim7 substitutions for the Dom7b9 chord.

In the example below, for the E7b9 chord we will employ Ddim7, Fdim7 chords over an E bass for a V to i cadence.

EXAMPLE 1:

Notice that the top line resolves:

john_mclaughlin_jazz_guitar_diminished_scale_chords_example

EXAMPLE 2: Shifting the diminished 7th shape up to resolve for V to i cadence

Once again, the top line has a smooth half step resolution:

CHORD APPLICATION PART 2:

This time, we will employ the Dom13b9 chord in a full ii V i cadence.

As, in our previous examples, acknowledge the descending chromatic movement– resolving in the top line.

john_mclaughlin_jazz_guitar_diminished_scale_example

PASSING CHORD:

This time, we will add a passing chord. This will be Eb7#9. This falls smoothly from the Em7 chord.

We will also add a little bit of bass movement.

Also, in this example, we have two 1/2 step resolutions in the top line.

john_mclaughlin_jazz_guitar_diminished_chords_example

Finally, we will exploit a Dom13#9 chord as part of the ii V I cadence. [Once again, notice the chromatic moment on the 1st string/top line as we ascend this time].

EXPLOITING THE SOLO LINE:

Another interesting concept that John employs, is to use the “Ultra Locrian” mode or the 7th mode of the harmonic minor scale when dealing with diminished chords.

Here is the scale/mode over an Adim7 chord.

ultra_locrian_scale_mode_john_mclaughlin_guitar_example

AVOIDING THE DIMINISHED CLICHE!

What puts John in a league of his own, is his avoidance of the usual tired diminished cliches .

Here, is an excellent example where John sequences in minor thirds. This though is an original, fresh and highly unique way of approaching diminished harmony and hence breaks the chain of cliches.

These 4 note groupings of tetrachords work great for sequencing with quick alternate picking guitar technique. [Starting on a down stroke]

THE INTERVALS: Key to creative lines

Looking at our example more closely we can clearly see the manipulation of intervals within the diminished scale/harmony.

This is what sets the great improvisers apart.

In this disguised manner the ascent in minor 3rds has a fresh interest to the ear due to the creative use of these intervals.

FULL ii V7 I Line

EXAMPLE 2

Here, we have the same thing in a different key:

Once again, acknowledge the use of intervals and tetrachords for rapid ascending movement with the picking hand.

Full Line:

IN CONCLUSION

This was just a quick look at how John McLaughlin exploits the diminished scale in interesting and unique ways that work extremely well not only for jazz, but, also specifically for the guitar.

John’s sequencing by exploiting 4ths, 3rds, triads and semitones creates an inspirational path, because it demonstrates that fresh life can be brought out from the diminished scale. This in turn makes the worn out cliches very easy to avoid.

FREE DOWNLOAD:

mcl dim Download

If this lesson was of use to you then please SUBSCRIBE to us on YOUTUBE below, Thanks!