How to work with diatonic chords. Understanding diatonic chords on guitar. Working with the diatonic series. How to use the diatonic series on guitar.
Sample lesson from the Secret Guitar Teacher Site. [ Ссылка ]

Video script:
You will hear guitar teachers and other musicians refer to the diatonic series in a number of different contexts. And as this is quite a useful concept to work with, I thought I would make a few lessons that help you explore it in a practical, as well as theoretical way.

A diatonic series of chords is perhaps best described as that series of chords that can be created using only the notes of the parent scale. And, as far as I am aware, the term is only ever applied to the Major scale or to one of its modes.

Let's have a quick reminder of how the most commonly used diatonic series is made up. Starting with any major scale. Let's use C major to keep things simple.

We simply pile the notes up on top of each other in thirds to get a series of chords that all belong to that key. And although at first glance you may be thrown by the apparent complexity of chord types formed by the diatonic series, a closer look reveals that there are only four different types.

The first, fourth and eighth chords are all major sevenths. In this lesson, we'll use this A string rooted shape for these.

The second, third and sixth chords in the series are all Minor sevenths
Again, we'll use the A string rooted shape for these.

The fifth chord comes out as a dominant seventh chord. For a full voicing use this fingering based on an A7 shape. Or, if you find that a bit awkward to finger you can opt for the C7 shape. Which doubles up on the octave at the expense of the fifth.

Finally we have the seventh chord in the series, which comes out as a half diminished or minor 7b5 chord. And that is reasonably easy to finger with this shape.

So, if these are new to you, I suggest going back over that and getting used to fingering those four chord types: Major 7th minor 7th dominant 7th or C7 shape and m7b5

Then simply play them up the fret board following the C Major scale rooted on the 5th string like this. And, once you have that sorted physically, keep repeating the exercise, but as you do so, make sure you name the chords, preferably out loud, first using their letter names - CM7, Dm7, Em7, FM7, G7, Am7, Bm7b5, CM7, but also incorporating using the generic roman numeral numbering system: I - CM7, ii - Dm7, iii - Em7, IV - FM7, V - G7, vi - Am7, vii - Bm7b5, VIII - CM7

So that's the first step in a series of exercises I have designed to help you gain a thorough working familiarity with this subject that lies right at the core of music theory.
We'll take you on to the next step in the next sound bite in this advanced series.

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