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1 3 2 4

E7

2 4 1 3

E73fr

2 3 1 4

E7

1 3 2 4

E7

2 1 3 1

E73fr

2 1 3 1

E7

1 3 2 4

E7

1 3 2 4

E72fr

0 1 1 1 2

A7

2 3 1 4

C7

1 2 1 1

G7

1 3 2 4

E7

1 3 2 4

E72fr

0 1 1 1 2

A7

2 3 1 4

C7

1 2 1 1

G7

44

44

&

0:48

0:53

&

1:02 1:22

1:35

1:411:49

&

1:58

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3

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3

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2

3

2

2

2

3

2

3

1

3

2

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2

2

Diminished Parental Form: Dom7

Demonstration

2

2

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1 3 2 4

E72fr

0 1 1 1 2

A7

1 3 2 4

E7

2 3 1 4

C72fr

0 1 1 1 2

A7

1 2 1 1

G7

1 3 2 4

E72fr

0 1 1 1 2

A7

2 3 1 4

C7

1 2 1 1

G7

2 3 1 4

C75fr

1 1 1 2

C78fr

1 2 1 1

C710fr

1 3 2 4

C7

&

2:222:26

2:292:38

&

2:48

&

3:01 3:04 3:09 3:14

wwwwnbbb

wwww#n wwwwbbb

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1

3

2

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2

2

2

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1

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2

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2

3

1

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2

2

2

3

2

3

2

2

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5

5

5

6

8

9

8

8

10

12

11

12

2

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2 3 1 4

C710fr

1 3 2 4

C75fr

1 1 1 2

C78fr

1 2 1 1

C7

2 3 1 4

C75fr

1 1 1 2

C78fr

1 2 1 1

C710fr

1 3 2 4

C7

2fr

0 1 1 1 2

A7 5fr

1 2 1 1

A7 7fr

1 3 2 4

A7 10fr

2 3 1 4

A7

&

3:17 3:21

&

3:31

&

3:37

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2

3

1

3

10

12

11

12

5

5

5

6

8

9

8

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3

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5

5

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2

2

2

3

5

6

5

5

7

9

8

9

11

12

10

12

3

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2 3 1 4

C75fr

1 1 1 2

C78fr

1 2 1 1

C710fr

1 3 2 4

C7

1 3 2 4

E74fr

2 3 1 4

E78fr

1 1 1 2

E711fr

1 2 1 1

E7

2fr

0 1 1 1 2

A75fr

1 2 1 1

A77fr

1 3 2 4

A710fr

2 3 1 4

A7

&

4:01

&

4:11

&

4:17

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2

3

1

3

5

5

5

6

8

9

8

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10

12

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2

2

3

5

6

5

5

7

9

8

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11

12

10

12

4

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2 3 1 4

C75fr

1 1 1 2

C78fr

1 2 1 1

C710fr

1 3 2 4

C7

1 2 1 1

G74fr

1 3 2 4

G77fr

2 3 1 4

G711fr

1 1 1 2

G7

1 3 2 4

E72fr

0 1 1 1 2

A7

2 3 1 4

C7

1 2 1 1

G7

&

4:23

&

4:30

&

4:41

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1

3

55

5

6

89

8

8

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11

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32

3

2

22

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2

31

3

2

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2

5

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1 3 2 4

E7

1 3 2 4

E72fr

0 1 1 1 2

A7

2 3 1 4

C7

1 2 1 1

G7

1 3 2 4

E7 F74fr

1 3 2 4

F75fr

1 3 2 4

G7

2 3 1 4

C75fr

1 1 1 2

C72fr

0 1 1 1 2

A75fr

1 2 1 1

A7

&

4:56 5:03

&

5:08 5:14

&

5:16 5:19

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2

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4

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3

1

3

5

5

5

6

2

2

2

3

5

6

5

5

6

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1 3 2 4

E74fr

2 3 1 4

E7

1 2 1 1

G74fr

1 3 2 4

G7

&

5:21 5:24

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1

32

3

5

64

6

2

32

2

4

65

6

7

7/24/2019 pmnog-010

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The following transformations reveal four separate V7 forms emerging from the parental

diminished form. Like the augmented phenomenon, they spread horizontaly, as well as

vertically throughout various combinations of strings across the guitar fingerboard.

E, A#, C#, or G Dim

Source

123

6

5

43

2

1

D#7

123

6

5

43

2

1

A7

123

6

5

43

2

1

123

6

5

43

2

1

F#7C7

4 V7 key centers

123

6

5

43

2

1

THE DIMINISHED TRANSFORMATIONSinto V7 Forms

eg. 11

V

E

R

T

I

C

AL

HORIZONTAL

12345678910111213

4th string 3rd string 2nd string

C7

12345678910111213

2nd string 4th string3rd string

D#7

= the position of the Root

6

5

4

3

2

1

12345678910111213

2nd string 4th string 3rd string

A7

6

5

4

3

2

1

6

54

3

2

1

1st string

1st string

1st string

12345678910111213

3rd string 2nd string 4th string

F#7

1st string

6

5

4

3

2

1

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4321

C

C7D#7 A7 F#7E Bb C# DimG

I

I

6 5 4 3 2 1

I

I

6 5 4 3 2 1

6 5 4 3 2 1

I

6 5 4 3 2 1

I

I

I

6 5 4 3 2 1

5432

B

I

II

I

I

I

II

6 5 4 3 2 1

6 5 4 3 2 1

6 5 4 3 2 1

C7 D#7A7F#7G C# E DimBb

I

II

6 5 4 3 2 1

III

6 5 4 3 2 1

6543

A

I

I

II

I

6 5 4 3 2 1

I

I

6 5 4 3 2 1

6 5 4 3 2 1

6 5 4 3 2 1

II

6 5 4 3 2 1

C7 D#7 A7F#7G C# E DimBb

These particular string groups provide what's needed to create a practical library of chord

forms, along with their alterations, and inversions.

eg. 23

V7th (tones in descent)

Transformations of the Diminished Form

to V7th and Mi7b5 Clusters

7/24/2019 pmnog-010

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II

5321

E

D#7A7C# Bb E DimG C7

III

III

6 5 4 3 2 1 6 5 4 3 2 1

6 5 4 3 2 1

III

6 5 4 3 2 1

F#7

II

6 5 4 3 2 1

6432

D

A7D#7 C7F#7

I II I

G E Bb DimC#

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1

II

6 5 4 3 2 1

II

6 5 4 3 2 1

II

6543

A

E Bb C# DimG Bbmi7b5

II II

II

Mi7b5 (tones in ascent)

6 5 4 3 2 1 6 5 4 3 2 1

6 5 4 3 2 1

6 5 4 3 2 1

Emi7b5 Gmi7b5 C#mi7b5

II

6 5 4 3 2 1

III

5432

B

C#mi7b5Bbmi7b5 Gmi7b5Emi7b5

III

III

III

6 5 4 3 2 1 6 5 4 3 2 1

6 5 4 3 2 1 6 5 4 3 2 1

C# G Bb DimE

IV

6 5 4 3 2 1

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C#mi7b5Gmi7b5 Gmi7b5Bbmi7b5G E Bb DimC#

I

I

6 5 4 3 2 1 I

I

6 5 4 3 2 1

6 5 4 3 2 1

I

I

I

I

6 5 4 3 2 1

I

I

6 5 4 3 2 16432

D

Gmi7b5C#mi7b5 Bbmi7b5Emi7b5C# Bb E DimG

I

I

I

6 5 4 3 2 1

I

I

I

6 5 4 3 2 1

III

6 5 4 3 2 1

III

6 5 4 3 2 1

III

6 5 4 3 2 1

5321

E

4321

C

Emi7b5C#mi7b5 Bbmi7b5Gmi7b5

I

I

6 5 4 3 2 1

I

I

6 5 4 3 2 1 II

6 5 4 3 2 1

E Bb C# DimG

I

I

6 5 4 3 2 1 II

6 5 4 3 2 1

Finally, prior to an introduction for basic linear studies, it's important to add another

consideration based upon the intervals of the guitars normal tuning: E, A, D, G, B, and E. The

intervals between these tones are as follows. E to A, (perf 4th) A to D, (perf 4th) D to G,

(perf 4th). It's here, (between G to B) that the interval changes to a ma 3rd, then continues with

B to E once again as a perf 4th. So far, (throughout these studies) the movement of single

tones, (either in descent, or ascent) has proved successfull as a formula. It holds true when it's

applied in vertical manipulations as well. A demonstration unfolds in the following examples.