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The Fdim-chord
Find chord shapes
Go to the dim chord page for general information on the dim chord.
Fdim has the notes F-Ab-Cb.
In diatonic contexts, you will meet the Fdim as the VIIdim chord in the key Gb-major. If you should happen to play in F#-major, which is enharmonic with Gb-major, you will meet exactly the same chord as E#dim. The spelling of the E#dim would be E#-G#-B. None of these keys are among the favorite keys for guitar players - or players on other instruments for that matter. In the following I will only refer to Fdim, and not the enharmonic E#dim.
It is more likely that you will meet the Fdim triad as part of the Db7 chord, than as a pure Fdim chord. Fdim can be seen as Ab7 with the root omitted, and you will sometimes see chords labeled Db7 that really are Fdim.
You can also meet the Fdim as the IIdim chord in Eb-minor. This holds for natural minor, harmonic minor and descending melodic minor. In ascending melodic minor, the sixth is raised one half step, and the diatonic II chord would be a major chord. In Eb-minor it would be F. In harmonic minor and ascending melodic minor, we will also meet the dim chord as VIIdim. We can have Fdim as VIIdim in Gb-minor. It is more likely that a guitar player will be in F#-minor than in Gb-minor, and we will then meet the same chord as E#dim. But again we will probably meet the triad as part of a 7th chord, which would be Db7 or the
enharmonic C#7.
| Open chord fingerings |
| Even though you may play a few open
strings, there are really no open fingerings for dim-chords |
Closed
positions
For the diminished triads, I do not separate the
adjacent string voicings and the skip-string voicings. |
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| Voicing: 3b-5b-1 |
Voicing: 1-3b-5b-1 |
Voicing: 1-3b-5b |
| The first chord is the
D7-shape.
When you finger only these three notes, you drop the root from the 7th
chord, and ends up with the diminished triad. |
It is still the basic
D7-shape,
but in the first we have added the root on the 6th string, and in the second we
have dropped the root on the 1st string. |
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| Voicing: 1-5b-3b |
Voicing: 5b-1-3b |
Voicing: 1-5b-1-3b |
Voicing: 3b-5b-1-3b |
| This shape is connecting to the
D7-shape
based chord on the frets below. |
You should recognize this as the
D-minor
shape. |
These are the two previous chords
combined, and given with two different fingerings. |
You should see how this is built from a
D-minor
shape, but is climbing up the neck. |
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| Voicing: 3b-5b-1 |
Voicing: 3b-5b-1-5b |
Voicing: 3b-1-5b |
| This is based on what I have called the Middle
D-shape. You should see how it connects to the chords one fret
below. |
Here we have just added another 5bth. |
These chords are very often used as
7th without roots in Freddie
Green style jazz comping. |
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| Voicing: 3b-5b-1 |
Voicing: 5b-1-3b |
Voicing: 3b-5b-1-3b |
| The first group of chords are built from the sonic
shapes Top
Triangle and Bottom
Triangle, and then they are combined. You should also see the
relationship with the A7-shape. Then the next chord is once again the
Root position diminished triad, which shows the connections further up
the neck. |
Voicing: 1-3b-5b |
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| Voicing: 5b-1-3b |
Voicing: 1-3b-5b |
Voicing: 3b-1-5b |
Voicing: 5b-1-3b-1 |
Voicing: 1-3b-1-5b |
| The two building blocks in
these chord positions are the
D-minor
shape and the A7-shape. From there you should also see the
relationship with the 7th chord. The Fdim is contained in the
Db7 chord. |
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| Voicing: 1-3b-5b |
Voicing: 5b- 1-3b |
Voicing: 1-5b- 1-3b |
Voicing: 3b-5b- 1-3b |
Voicing: 3b-5b- 1-3b |
Voicing: 3b-5b- 1 |
| This is the basic Root position diminished
triad on 3rd, 2nd and 1st string. |
This is a well known chord shape - the
D-shape
in a not so well known position. Listen to and take a look at Robert
Johnson's Kind Hearted Woman Blues for an example where this chord is
used very nicely in combination with a major chord one fret above. (The song is
in A-major, and the chords are A and Cdim). |
The next four chords are built around the
D-shape
or a partial D-shape. |
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| Voicing: 1-3b-5b |
Voicing: 3b-1-5b |
Voicing: 3b-1-5b |
| This is the basic Root position diminished
triad on 6th, 5th and 4th string. |
You can recognize this as an
E7-shape. The second has an added root note on the 1st string. The root
on the 6th string in the first and on the 6th string in the third chord in this
group, connects to the chords in the next position up the neck. The last chord
gives a partial
D7-shape
on 1st and 2nd string, a position to build from further up the neck. |
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| Voicing: 3b-5b-1 |
Voicing: 1-3b-5b-1 |
Voicing: 1-3b-5b |
| The first two chords are the
D7-shape.
When you finger only these three notes, you drop the root from the 7th
chord, and ends up with the diminished triad. |
It is still the basic
D7-shape,
but in the first we have added the root on the 6th string, and in the second we
have dropped the root on the 1st string. |
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