The B diminished chord, often not the first chord guitarists learn, is a crucial element in music theory and chord vocabulary. While diminished triads might seem less common than major or minor chords, understanding and being able to play them opens up a world of musical possibilities. This guide focuses specifically on the B diminished chord on guitar, providing practical voicings and techniques to incorporate this unique chord into your playing.
Understanding the B Diminished Triad
Before diving into guitar voicings, it’s important to understand what constitutes a diminished triad. A diminished triad is built using the root, a minor third, and a diminished fifth. In the case of B diminished, the notes are B (root), D (minor third above B), and F (diminished fifth above B). It’s essential to differentiate a diminished triad from diminished seventh chords. Terms like “fully diminished” and “half-diminished” apply to seventh chords, not triads. A diminished triad is simply three notes: root, minor third, and diminished fifth.
Why B Diminished Chords Can Be Tricky on Guitar
Unlike some chords that have comfortable six-string voicings, the B diminished triad is not typically played using all six strings on the guitar. Finding sonically pleasing and easily playable six-string versions is challenging. Therefore, guitarists often rely on 3-string voicings for diminished triads, muting the unused strings to achieve a clean sound. This technique of using partial chord voicings and muting is incredibly valuable and applicable to various chord types, especially on electric and steel-string acoustic guitars where unwanted string resonance can be more prominent. Thumb muting, particularly for the low E string, is a helpful technique in these situations.
Essential 3-String Voicings for B Diminished
Here are some common and practical 3-string voicings for the B diminished triad. These voicings are presented in standard guitar tab notation, focusing on the D, G, and B strings (from low to high in the diagrams):
x x 3 4 3 xThis first voicing is played by barring across the D and G strings at the 3rd and 4th frets respectively with your index finger, and then placing your ring finger on the B string at the 3rd fret. Your thumb can effectively mute the low E string. The finger fretting the D string can also mute the A string, and the first finger can handle muting the high E string. With practice and right-hand muting control, you can achieve a clean and focused sound with this voicing.
x x 9 7 6 xFor this voicing, use your index finger to bar across the G and B strings at the 7th and 6th frets, and your ring finger on the D string at the 9th fret. Muting remains similar – thumb for low E, D string finger for A, and index for high E.
x x 12 10 12 xThis higher voicing uses the same shape as the first voicing but moved up the neck. Barre the D and G strings at the 12th and 10th frets with your index finger, and use your ring finger on the B string at the 12th fret. The muting techniques remain consistent.
From these three basic shapes on the D, G, and B strings, you can deduce similar voicings on other sets of three strings on the guitar neck.
B Diminished with Root on Lower Strings
If you need the root of the B diminished chord to be on the E or A string, you can adapt the voicings mentioned above by dropping the root an octave lower. This gives you the following voicings:
x 2 3 x 3 xIn this voicing, the root B is on the A string (2nd fret). Use your index finger on the A string, middle finger on the D string (3rd fret), and ring finger on the B string (3rd fret). The index finger on the A string helps mute the low E string.
7 x x 7 6 xHere, the root B is on the low E string (7th fret). Barre your index finger across the low E and B strings at the 7th and 6th frets respectively, and use your ring finger on the G string at the 7th fret. The finger on the low E string can mute the A string if needed.
To add fullness to these voicings, you can double the root note. For example, in the first voicing with the root on the A string:
x 2 3 4 3 xHere, the root B is doubled on the G string (4th fret).
And in the voicing with the root on the low E string:
7 x x 7 6 7The root B is doubled on the high E string (7th fret).
A Note on Diminished Seventh Chords
While this article focuses on the B diminished triad, it’s worth noting that fully diminished and half-diminished seventh chords can sometimes be easier to voice on guitar due to the presence of a fourth note, which can fill out the sound and potentially reduce the need for extensive muting. However, mastering the diminished triad is a fundamental step towards understanding and utilizing these more complex chords.
Conclusion
The B diminished chord, while perhaps initially challenging, becomes manageable with focused practice on 3-string voicings and effective muting techniques. By learning and incorporating these voicings into your playing, you’ll expand your chord vocabulary and gain a deeper understanding of harmony. Experiment with these shapes, practice smooth transitions between them and other chords, and explore the unique color that the B diminished chord can bring to your music.
