diminished chord / minor tonality

Within the minor tonality, the various harmonic hues created by the diminishing of the perfect intervals play considerably less of a role in various chord progressions than in the major tonality. Whether due to the idea that the minor tonality is already a bit darker by nature and that the diminished color goes deeper in that direction, we rarely if ever see a fully diminished chord stand alone as encountered in the major tonality. Perhaps because there is less contrast between the minor and diminished colors. Hard to say. What we do find in the minor tonality is quite a bit of the diatonic half diminished color built on various degrees, as well as the fully diminished seventh chord as found within the dominant seventh flat nine ( V 7 b9 ) chord, used cadentially from various diatonic and non-diatonic positions.

In regards to the diminished colors becoming a "bridge" to the polytonal universe through the softening of it's colors, as discussed in regards to the major tonality, the qualities of the minor tonality are perhaps a bit more on the "earthy", primordial side of the emotional spectrum. And as is so often the case in American music, we often find some of the blues colors mixed in, further grounding our polytonal vehicle so to speak. So, while the ease of getting harmonically out there is perhaps more challenging in the minor tonality, it's ability to get emotionally "in there" creates a tremendously passionate, yearning and loving environment. One that in no way limits the creative artist from ascending the heights of their spiritual questing.

In all honesty, the minor tonality is a world I need to explore more fully, search out a wider variety of literature, examine it for it's magic and simply hang there, absorb the vibes and create. The tunes I write and play within the minor colors are usually for the most part diatonic, the mixing in of polytonal harmonic and melodic elements perhaps a bit restricted by my limited scope and understanding of the minor tonality. One new bright spot in this area is the gradually emerging idea of a tonality without a tritone, where the minor and major tonalities are woven together through the extensions of their arpeggios. Once this project is done I look forward to exploring this tonality more thoroughly.

With this in mind, let's explore the minor tonality in regards to the diminished colors and see how we can employ these characteristic colors within this powerful emotional environment. As done with the diminished color in the major tonality, we'll take each step of the chromatic scale and discuss potential placements of the diminished color within the minor tonality. Likewise, we'll employ the common Two / Five / One harmonic motion to motor our harmonic explorations, while using the pitches of C natural minor as our default key.

First scale degree. One option with the diminished color in the first degree is to simply flat the fifth of the chord creating the half diminished color. This delays the complete resolution of the phrase even though the tonic is struck. To stabilize this, we simply raise the fifth by half step. Example 1.

Check out the second ending of the 12 bar minor blues "Blue Trane" by John Coltrane to see the above motion in context.

Sharp One / flat Two. With no real diminished passing chord action in the minor tonality, we do quite frequently encounter a dominant chord built on flat Two, resolving towards a minor tonic. Although rarely of the dominant seventh flat nine ( V 7b9 ) variety, this tritone substitute is doable, depending of course on what we are hearing. Example 2.

Note the common tone pitch Ab in the lead of the above idea to help glue it all together.

Second scale degree. Here we find the half diminished seventh color diatonically constructed from the second scale degree. This is pretty much the most common positioning of any of the diatonic diminished hues within the minor tonality. Pairing this half diminished color with the dominant seventh flat nine ( V 7 b9 ), we can create a very common cadential motion in the minor tonality. Example 3.

The above idea uses a common tone in the Two / Five tension, resolving down by step to the third of the minor tonic. The Rogers and Hart classic ballad "My Funny Valentine" uses the above idea with dramatic effect.

Minor third scale degree. No real workable options to incorporate the diminished color on this scale degree in the minor tonality. The diatonic chord on Three in the minor tonality is a tonic / major 7th chord type. Any suggestions or know of a tune that uses the diminished color on Three in the minor tonality?

Augmented third scale degree. No real workable options to incorporate the diminished color on this scale degree in the minor tonality. Got any ideas?

Fourth scale degree. We oftentimes see the Four chord colored as a half diminished chord as it sets up the modulation to the relative major key. Example 4.

If the above F half diminished chord looks like a non-diatonic Two in Eb, I hear ya, half of the ideas on this this page are stretching it theoretically, pretty thin I know, sorry. In the above idea, we pair the half diminished with it's close cousin, the dominant seventh flat nine chord, using the flat five / flat nine common tone in the lead, resolving by half step to the fifth of the key we are resolving towards, i.e., Eb major. Billie Holiday's timeless classic "God Bless the Child" uses this idea as the bridge ends, leaving the relative minor and returning to the tonic relative major for the last A section.

Augmented fourth / flat fifth scale degree. No real workable options to incorporate the diminished color on this scale degree in the minor tonality.

Fifth scale degree. On the fifth degree in the minor tonality, we most often build a fully diminished seventh color within the chord, creating the dominant seventh flat nine ( V 7 b9 ) chord. Although not diatonic to the natural minor scale, this chordal color is very common and persuasive in both the major and minor tonalities. To diatonically create this color, we simply look the harmonic minor or melodic minor scale. Along with the diatonic Two half diminished, the Five seventh flat nine is the most common use of the diminished colors within the minor tonality. Example 5.

Horace Silver's exotic "Nica's Dream" uses this powerful V 7b9 cadential motion to move from the relative major tonality back to the relative minor color, the overall basis of the composition.

Sharp Five / flat Six. No real workable options to incorporate the diminished color on this scale degree in the minor tonality. The diatonic chord on Six in the minor tonality is a tonic / major 7th chord type.

Augmented Sixth scale degree. Here we borrow the major sixth interval from the melodic minor scale and use two of the diminished hues in common harmonic motions within the minor tonality. This first idea simply builds a half diminished chord on Six, which is placed in the common One / Six / Two / Five cadential motion. Example 6.

Explore Thelonius Monk's essential "Round About Midnight" to dig this common cycle in action. 

A second common way to color this altered Six chord diminished is by adding the flat nine to the vanilla dominant seventh chord, creating a fully diminished seventh chord from the third degree of the dominant chord. We can substitute this dominant color into the above progression without too much hassle. Example 6a.

Just a slight variation in color between the example 6 and 6a, do you dig one more than the other? Why? Where can we use it? This VI 7 b9 is way more popular in the major tonality.

Flat Seventh scale degree. Perhaps the most commonuse and function of the diminished color on the flat Seventh degree in the minor tonality is to set up the modulation to the relative major using the V 7b9 chord. Let's do that. Minor tonic to relative major and back, vwala! Example 7.

Kinda like the dog chasin it's tail eh? Pairing the relative minor and relative major keys within one composition is very common. Click list o' tunes for some titles that do just that.

Major seventh / leading tone. Not diatonic to the natural minor tonality, we do find this pitch in both the harmonic and melodic minor groups. One common possibility with the leading tone is to build a fully diminished chord as part of a V 7 b9 chord and use the harmony as a cadential chord to the minor tonic. Example 8.

A way less common use of the leading tone diminished chord is in a passing chord fashion. Example 8a.

A rather non-diatonic harmonic motion of the minor tonality. Look at the cool Bossa Nova "How Insensitive" by A. C. Jobim to get the real deal on this leading tone passing diminished chord within the minor tonality. 

Well, pretty sketchy huh? Sorry about that, promise to do better in the next edition. So, what's next? How about chord families? Ready for the improvisation section? Scope out chord substitutions within the minor blues tonality?

Review. Here is a chart to review the positions of using the various diminished color within the minor tonality. Example 9.

continued ...

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"A joyful heart makes a cheerful face." Proverbs 15:13