This etude functions as a simplified “encyclopedia” for demonstrating how the diminished scale can be organized into major and minor triad pairs, as well as to show you how these pairs fit over their respective dominant chords.

The aim here is to not only understand how these triads fit over the dominant 7th chords, but also to help you “hear” (aurally imagine) how they sound in contrast/relationship to the dominant chord. If you’re fairly new to the diminished scale, this will also demonstrate the harmonic relationship between the four dominant 7th chords that share the same diminished scale.

Take a look at the example above. In the first two measures I have a C7 chord. In the first measure is the chord itself, inverted from the 3rd. In the second measure I apply the diminished scale organized into two triad pairs extracted from the scale: Eb minor and A major. The 3rd and 4th measures have an Eb7 in root position followed by A minor and Eb major triads.

Measures 5 and 6 have an F#7 chord inverted from the 7th followed by F# minor and C minor triads. Measures 7 and 8 have an A7 chord inverted from the 5th followed by A minor and F# major triads.

As you can see, each of the dominant 7ths start on a different degree of the chord.

All four of these dominant 7th chords are related to the same diminished scale: C, Db/C#, Eb, E natural, F#/Gb, G natural, A, A#/Bb. Hence, all the triad pairs are related to each of these dominant chords. I put this eight measure exercise in all 12 keys as a playable reference. As you practice it you’ll find lots of patterns and relationships between triads pairs and dominant chords, and hear how they sound in various inversions.

If you’d like to explore this concept in depth, learning to apply these triad pairs as they move from dominant to tonic, please consider my ebook, Diminished Scale Diatonic Triad Pairs. To get a free pdf copy of this etude, click the link below: