B Dim7 Chord Scales and Intervals

B dim7 chord (B-D-F-A) is a four-note diminished seventh chord consisting of notes B, D, F, and A that utilizes the same formula as fully diminished seventh chords (1-b3-b5-bb7) to construct.

Diminished seventh chords are a type of dominant chord that seeks to resolve by either falling back one perfect fifth, or rising one perfect fourth from their original note value.


The b dim7 chord has an unpleasant sound that’s rarely used as the basis of any progression. Instead, it is more often employed as an interlude between chords of similar sound like minor third and diminished seventh; therefore it is essential that we understand how scales and intervals can help build these types of chords. In the following sections we’ll present an overview of scales and intervals that can help create these kinds of chords.

As demonstrated by the table below, only three unique dim7 chords exist, each containing four evenly spaced notes. As such, there are only three unique voicings of each chord which acts like another inversion of it. To find which scales you can use over a b dim7 chord, first examine its tones listed here before calculating intervals using note interval numbers as shown above.

These chords are displayed as open voicings; however, all can be adjusted down one string to form closed voicings known as drop 2 and drop 3 voicings, wherein the second lowest note of each chord is moved to bass position for these types of voicings.

Jazz musicians should know this chord to add tension and dissonance to improvised solos, with its exotic sound making it particularly suited for jazz music.

These chords may be challenging to play on guitar due to their dissonant nature; however, you can achieve their sound using muting techniques. For instance, your thumb could mute the low E string, while finger fretting high D string could mute high A string; this should help make these chords more pleasing to listeners.

The b dim7 chord is a form of diminished triad with a flat 7th. This differs from half diminished quadrad or m7b5 chord, both of which feature an added major seventh note. Although not diatonic to any major scale, its intervals can provide some link to minor scale chords.


A diminished seventh chord shares the same interval structure as a major seventh chord, yet its seventh note is flattened by two half-tones or semitones, creating an unusual dissonant sound. Intervals, which measure distances between notes in a scale, play an essential part in understanding this chord; minor thirds tend toward consonant intervals while tritones can sound dissonantly.

Each triad chord quality has its own interval quality, which can be represented on a fretboard diagram by numbers. For instance, the b dim7 chord features the interval structure 1m3b5b7 with seven possible voicings or fret configurations for it on the fretboard – as demonstrated below in chord diagrams showing finger positions for this chord and information about note intervals for it.

Diminished seventh chords have a distinctive sound, often used to add tension and drama to a song. Classical music composers like Bach and Beethoven used dim7 chords as a powerful emotional device – Bach in particular used it often while Beethoven employed it extensively for expression of pain, anger or excitement; opera and operetta composers also relied heavily on them as an important chromatic tension device.

The b dim7 chord is one of the most widely used diminished seventh chords in jazz, as it can be played in almost any key. However, its usage may not be as widespread in rock or pop music where other types of diminished seventh chords are more widely employed.

Fully-diminished leading-tone chords tend to settle towards the pitches of a tonic triad chord. For instance, in C major, the viio7 chord pulls its leading tone towards scale degree 11, and its seventh pulls down by one step to 55, giving this chord its distinctive cadential character and similar to how augmented fourths resolve in cadential sixth chords; something not seen with other triad chords.


In this chord, the seventh scale degree is reduced by two half steps to create a very dark sound, often used to express sorrow or depression. It is common in classical music works such as those by Bach, Beethoven, Mozart Haydn Weber as well as jazz and rock musicians alike.

Notes for this chord are B-D-F-Ab, and to play it you must mute the low E string using your thumb, while simultaneously fretting the other three strings with your fingers. Although initially challenging, with practice it should become simpler.

Diminished chords can add tension to your songs by providing dissonant soundscapes that can be resolved by transitioning from dissonant chords into major or minor ones, creating dramatic moments or offering interesting contrast in chord progressions.

Each of the seven major scales contains its own distinctive chord quality that corresponds to one or more note intervals in its scale, identified by short-note interval names in brackets as well as their associated triad chord qualities. The table below details each of these chord qualities further and shows examples of how they can be constructed using root notes from each major scale.

Each diminished chord can be created from its constituent triads, each having a distinctive sound. Arranging these chords in various arrangements is important in developing your own style and creating more distinctive sounds within music. Furthermore, try playing these chords alongside one another to see how they sound together; try pairing an E diminished chord with an A diminished chord for example and listen to how they blend. Adding secondary dominant chords can add additional layers to progressions that are otherwise monotone.

Final Words

The b dim7 chord is a diminished seventh chord composed of notes B, D and F in some keys and often known as the B diminished triad. To construct it, two intervals of minor third flatten are added onto the first scale degree to form this chord – though this can make the chord look odd at times! However, this practice helps adhere to diminished harmony rules.

Diminished seventh chords are frequently employed as passing chords between mediant and supertonic triads in major keys, and are frequently seen in jazz performances – for instance, they make up part of the jazz turnaround (Imaj7 Bbdim7 IIm7 V7). Furthermore, diminished seventh chords are frequently used as replacements for IV minor in blues songs.

This chord may be difficult to play, but it can be used as an effective learning tool when exploring diminished chords. Furthermore, its tension-building qualities add drama and increase drama during songs. When practicing this chord, use a capo on the first fret and work your way up the fretboard – this will build finger independence while making changing chords simpler.

One method of creating this chord is by playing it with its root note on the left and its fifth on the right hand, or vice versa; alternatively you could switch things up and use its sixth note instead on either side – even on one hand only!

B dim7 chords may not be as widely used as other diminished seventh chords, but they remain an essential element of jazz music. You’ll find it featured in compositions by Bach, Haydn, Mozart, Beethoven and Wagner; their emotional expression can range from pain, anger and anxiety – making the b dim7 an extremely versatile chord to use across a variety of genres such as classical or rock music as well.