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• Milton Mermikides

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Passing Diminished Chords [email protected] Diminished chords are often used as passing chords between chords I, ii and iii in either direction. Imaj7 #Iº7 IIm7 #IIº7 IIIm7 bIIIº7 IIm7 bIIº7 CŒ„Š7

& V

V

C©º7

V

D‹7

V

V

V

D©º7

V

V

E‹7

V

E¨º7

V

V

V

D‹7

V

V

D¨º7

V

V

The #IVº7 chord is often used between chords IV and a 2nd inversion I chord

IVmaj7

#IVº7

FŒ„Š7

F©º7

I

& V V V V

C/G

V V V V

IV7

#IVº7

F7

F©º7

I7

V V V V

C7/G

V V V V

The bVII7 chord The bVII7 chord may also be preceded by a related II. We could call this the 'Aeolian ii-V' as it is drawn from the Aeolian mode and is quite common.

The bVII7 chord (borrowed from the parallel minor) is sometimes used as a resolution to I Imaj7

Imaj7

bVII7 B¨7

CŒ„Š7

& V V V V

IVm7

CŒ„Š7

V V V V

bVII7

Imaj7

B¨7

CŒ„Š7

F‹7

V V V V

V V V V

The bVII chord from Mixolydian

The bVII major triad, particularly when in proximity to a major IV chord is a very common rock device and can be seen as being drawn from the parallel mixolydian mode. bVII B¨

IV

I

F

C

& V V V V

IVmaj7

V V V V

FŒ„Š7

bVIImaj7

I

B¨Œ„Š7

C

V V V V

The bVII7(#11)

V V V V

The bVII7 chord when it includes a #11 (and/or 9) is a common jazz device, not borrowed from parallel minor but Mixolydian b13 (a melodic minor mode) bVII7(#11)

Imaj7 CŒ„Š7

& V

V

V

V

B¨7(#11)

V

V

bVII9(#11)

Imaj7

V

V

CŒ„Š7

V

V

V

V

B¨9(#11)

V

V

V

V