In this etude, I’ve reorganized the notes of the diminished scale into four diatonic triads (major and minor), and apply them to dominant 7th chords as they resolve to tonic. Look at the example below:

In the first measure is a C# minor triad voice leading up to a Bb major triad, continuing in the second measure to an E minor triad voice leading up to a C# Major triad, which finally resolves to the 5th of the C major 7 chord. The line continues with a spelling of the C Major tonality.

All four of these triads are extracted and reorganized from the diminished scale that is harmonically relative to the G7 chord: D, E, F (E#), G, G#, Bb, B and C#. By organizing to notes of the scale this way, you can create  a great deal of tension, as well as hint at the notes of the diminished scale without spelling it out directly. This is an excerpt from my book, Diminished Scale Diatonic Triad Pairs, where I offer many different possibilities of triad pair combinations over dominant 7th chords.

Click the links below to download a pdf copy of this etude and to hear a midi version of it:

Diatonic Triad Pair Combinations Over Dominant 7th Chords .pdf

Diatonic Triad Pair Combinations Over Dominant 7th Chords midi