Dom7, Dim7 And Min6 Chord Construction – Some Basics
Before dealing with the main topic of the lesson, you need to know what a dominant 7 chord, a diminished chord and a minor 6 chord is, either by clicking on the corresponding links or by reading the following reminder.
The chord position that will serve as a basis for all the examples below is a drop 2 Fdim7 with the root note on the fifth string. The notes are F (Root) – Cb (b5) – Ebb (bb7) and Ab (b3).
It is possible to get four different dominant 7 chords by lowering only one note of a diminished seventh chord. Here are four examples implying Fdim7, G7, Db7, Bb7 and E7.
In this first example the b3 of Fdim7 is lowered by a half-step to obtain a G7 with the b7 in the bass (G7/F).
Here, the bb7 (written Ebb but same as D) of Fdim7 is lowered by a half-step to get a Db7 chord with 3rd in the bass (Db7/F).
This time, this is the b5 (Cb) of Fdim7 that is lowered to get a Bb7 with the 5th in the bass (Bb7/F).
The fourth example shows the root of Fdim7 lowered by a half-step to get an E7.
The second part of the concept is to raise by a half-step one note of a dim7 chord in order to get a minor 6 chord. Here are four examples implying Fdim7, Dm6, Abm6, Fm6 and Bm6.
In the first example the b3 of Fdim7 is raised to become the 6th of Dm6/F (Dm6 with minor third in the bass).
In this one, the bb7 of Fdim7 is raised by a half-step to get an Abm6 chord with 6th in the bass (Abm6/F). Notice that this chord voicing can also be considered a half-diminished chord with root in the bass (Fm7b5).
In this example, the b5 of Fdim7 is raised by a half-step, thus giving an Fm6 chord.
To finish, the root of Fdim7 is raised by a half-step to get the fifth of Bm6/F#.
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