E-flat Diminished Chord

How to play the E-flat Diminished Chord on the piano

Let’s go through some charts that will familiarize you with the E-flat Diminished Chord and how to play it in the various forms you will encounter in pieces of music. First, we’ll look at the fundamental chord and its inversions; then, we’ll explore some more complex voicings.

The E-flat Diminished Chord in root position

In root position, the notes of the E♭ diminished chord are stacked in thirds with E♭ on the bottom. The appearance on the staff is evenly spaced, as is the feeling of the space in between your fingers while playing.

E-flat Diminished Chord in root position
Note Order	E♭ G♭ B𝄫
Left Hand Fingering	5 3 1
Right Hand Fingering	1 3 5
Chord Symbol	E♭dim or E♭°

The E-flat Diminished Chord in first inversion

In first inversion, the third of the chord (G♭) becomes the bottom note, and the root (E♭) jumps up to the top.

E-flat Diminished Chord in 1^st inversion
Note Order	G♭ B𝄫 E♭
Left Hand Fingering	5 3 1
Right Hand Fingering	1 2 5
Chord Symbol	E♭°⁶ or E♭°/G♭

The E-flat Diminished Chord in second inversion

In second inversion, the fifth of the chord (B𝄫) is on the bottom, and the third of the chord (G♭) goes to the top.

E-flat Diminished Chord in 2^nd inversion
Note Order	B𝄫 E♭ G♭
Left Hand Fingering	5 2 1
Right Hand Fingering	1 3 5
Chord Symbol	E♭°^6/4 or E♭°/B𝄫

E-flat Diminished Chord theory and function

A diminished chord stacks two minor thirds, and the result is tense and unsettled. It is never a place to rest. It behaves like a dominant 7th chord with the root missing, so it wants to move.

The common keys that use this chord are sharp keys, so it is usually written as D♯ diminished, and the spelling follows the key. The D♯ diminished chord is the leading-tone chord (vii°) in E major. In minor keys, it is the leading-tone chord (vii°) in E minor and the supertonic (ii°) in C♯ minor.

The notes D♯, F♯, and A are the top three notes of B7, so the chord leads to E the way B7 does. A common use is as a passing chord over a rising bass line, I – vii°6 – I6: E – D♯°/F♯ – E/G♯, so the bass walks E, F♯, G♯. Try playing D♯° and then E and listen to how the tension settles.