I’m being confused here – how are you getting all these major triads and half dim and min 7 chords out of the dim scale? This is very advantageous, as it opens up a very wide range of possibilities. For today, we're just going to focus on the half-whole diminished scale because, like the other scales on this list, it works really well over a G7 chord. Now that we know the construction of the diminished scale, we should figure out how it functions in jazz. The scale that you need to use in a context not the diminished scale. The Diminished Scale: A Modern Jazz Guitar Approach part 2 covers: An introduction to the 14 triads and an explanation of how they were derived; Introduction to the system for exploring the triads as a primary chord paired with a sibling or secondary chord; Names for each triad based on traditional names or variations thereof The final fingering in this lesson is a G diminished scale from the 5th string that shifts up the fingerboard. applies even if you are starting a phrase on something other than the root of the chord? The notes in-between act as leadin… (See Scales for Improvisation in the Jazz section). Here are some of the best applications of the diminished scale: 1. For example: I know it seems counterintuitive because of the complementarity of the notes on the beat (different pitches are emphasized whether ascending or descending if you always start with a whole step while moving melodically in either direction), but the fact is that ascending and descending scales often simply do not behave the same way in terms of their harmonic implications. Some jazz scales, such as the bebop scales, add additional chromatic pa Using only notes derived from a given diminished scale, you can extract a lot of useful and familiar-sounding harmonic structures. For example: I hope you find this a helpful guide for exploring diminished scales. The diminished scale is a symmetrical scale that is built by alternating whole steps and half steps. All jazz legends used this sound in their improvisations....and most of all: listen to Coltrane a whole lot. You might already know about the diminished scale, but a lot of jazz musicians are familiar with the diminished sound and yet do not tap into the full potential of this unique scale. That could be a lesson all on its own! The dominant diminished scale is used to solo over dominant 7th chords, or more specifically 7b9 chords. Here is a G diminished scale from the 6th string that shifts up the neck, which is an effective fingering to move between positions on the guitar. The ‘A’ sections use all of the diminished scales. Primarily because the diminished scale is a symetrical and synthetic construction and not really what fits any type of tonal song. A jazz improvisation practice handbook for mastering diminished scales, diminished patterns, and diminished harmonies in your improvised solos. The diminished scale is a symmetric scale formed by the sequence: Tone – Semitone – Tone – Semitone – Tone – Semitone – Tone. Moving on, here are descending 3rds played over a G diminished scale. I like the post a lot overall, however, I think his intention may have been to use the half whole scale on V7b9 chords. )7 and D(dim. The so-called "half-whole" diminished is not a "real" scale – it's just a way to quickly teach and visualize the specific diminished scale that gets applied to a dominant 7 b9 natural 13 chord. This scale is written from the root note G, and so it is called a G diminished scale. This scale is used to solo over diminished seventh chords. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. As well as learning to play these scales on the guitar, it is also important to take these shapes to the improvisational side of your studies so you can apply them to jazz tunes and progressions. This scale specifically corresponds with a 7(b9) or 13(b9) dominant chord. This is why we refer to it as a symmetrical scale, because the repeating interval pattern takes you back to the note that you started on. The H/W Diminished Scale and/or associated chord can be substituted in place of a V7 chord. Moving on, the second lick uses a Bb diminished scale to solo over a Bbdim7 chord in a iiim7-bIIIdim7-iim7-V7 progression. The diminished scale is one of the most useful and versatile tools for jazz improvisers. The third lick in this lesson uses the same Bb diminished scale over a Bbdim7 chord, though in this case, you will draw from the arpeggios in that scale to build your line. Once you can play these diminished scale fingerings, put on a Dim7 backing track and begin to solo over that chord using the fingerings from this lesson. This form of the diminished scale is generally referred to as the half-whole diminished scale. The Diminished Scale for Guitar. The whole-half (WH) is what is commonly referred to as the regular diminished scale, and in the key of C goes c d eb f f# g# a b. In jazz history, definitely by the time bebop emerged, many improvisers were aware of and using the diminished scale. The diminished scale is an eight-note scale that is built by picking a tonic note, and then alternating whole steps and half steps from that starting note. There are major triads, dominant 7th chords, dominant 7th (b5) chords, minor 7th chords, and minor 7th (b5) chords you can build off of the 2nd, 4th, 6th, and 8th scale degrees of the diminished scale. Diminished-whole tone scale ( also called super locrian or altered scale). To understand this concept, let’s break down a C diminished scale by first looking at its notes: When you build arpeggios from the 1st, 3rd, 5th, and 7th notes of this scale you produce 4 Dim7 arpeggios: Now, let’s take a look at the four arpeggios that you build when starting from the 2nd, 4th, 6th and 8th notes of the scale, which are all dominant 7th arpeggios: To see these arpeggios on the guitar, here are the ascending versions of each arpeggio in a C diminished scale: Here is a G diminished scale from the 6th string with the ascending arpeggios applied to this fingering: To finish this introduction to the diminished scale, here are six licks that you should study and apply to your playing. I also assume the "start with a hole note" rule (I realize it's just a guideline!) 12 Tone Serialism Schoenberg; Messiaen’s 4th Mode It has been covered on LJS before, but I want to try to offer an additional perspective on how to think about and use this scale. Below is an example of this. This scale is a combination of a diminished scale and a whole-tone scale. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). Here is the same Bb half/whole scale written out with the intervalic relationships to a Bb7 chord written over each note. The final phrase is applied to the middle four bars of a jazz blues progression in the key of C. The diminished scale here features  a melodic pattern over the second bar of the progression. The diminished scale is a special scale that accompanies a fully diminished 7th chord. To summarize, the symmetrical diminished scale is a sound used as a tension in music, not necessarily making sense with the theory of the diatonic scales. Combine two minor tetrachords a tritone apart (a tetrachord is a 4-note scale, and a minor tetrachord is basically the first 4 notes of the Dorian minor mode, so for example, combine the first 4 notes of a C- scale with the first 4 notes of an F#- scale) 2. Diminished scales are symmetrical and repeat in minor 3rds meaning that 1 diminished scale is actually 4 diminished scales. When first exploring diminished scales on guitar, it is easy to confuse these two scales. There are only 12 keys which means that there are only 3 diminished scales. As it turns out, there are only 3 diminished scales. Over a pedal point (any diminished scale will work, but most often the chord with the same root as the pedal note works best): Finally, here is a very useful “insider” tip: diminished scales work best starting with the whole step first when playing both ascending or descending step-wise melodies over dominant 7th (b9) chords. As you can see, the scale gives you all of the standard chord tones in a … The Diminished Scale: A Modern Jazz Guitar Approach – Part 1 covers: Basic structure of the scale and its relation to the fully diminished seventh chord; All voicings on the guitar of the diminished seventh chord; Diminished seventh arpeggio fingerings; A breakdown of … Over a fully diminished 7th chord with the same root (the most “obvious” use): 2. I was about to say the same thing. The chord from the C H/W Diminished Scale is a C7♭9 (C E G B♭ D♭); The chord from the D♭W/H Diminished Scale is a D♭dim7 (D♭ E G B♭) D♭dim7 = Rootless C7♭9. Diminished-like scales and other symmetric scales have been used in non-Western music for centuries (and perhaps even millennia). This lesson will explain how to build, play, and solo with the diminished scale. Now I am obviously not ‘clicking’ here on this. The diminished scale is a special scale that accompanies a fully diminished 7 th chord. You explanation for why it's good to start the diminished scale with one of the whole steps is a bit confusing. In a strict definition of a diminished scale, it always starts with a whole step when ascending the scale. The half-whole diminished scale is an 8 note symmetrical scale. As I’ve previously mentioned, the diminished scale most commonly gets applied to dominant 7th chords in jazz. (or a whole-half lot if you prefer). Next, you will learn to play four variations of a common jazz scale pattern called diatonic thirds. Copyright Jazz Guitar Online 2020 © All rights Reserved. The Diminished scale is an important scale used in Jazz but can also be used in blues. Learn how your comment data is processed. )… interval pattern. Save my name, email, and website in this browser for the next time I comment. There are also fully diminished 7th chords you can build off every note of the diminished scale, and there are diminished major 7th chords you can build of the 1st, 3rd, 5th, and 7th scale degrees. Some also refer to this as the double diminished scale because it can be conceptualized as alternating between two diminished arpeggios (C, Eb, F#, A and C#, E, G, Bb). My hyper-picky theoretical distinction is this: one of my mentors is an influential jazz theorist named Gary Keller (he has a great book about jazz theory published through Advance Music if you're interested), and he and others argue that there is only one type of diminished scale: the "whole-half." Just to review, a diminished 7th chord is constructed by stacking minor thirds on top of each other until you build a 7th chord. i.e. Josiah – thank you for the explanation. Well, there are really *two* types of diminished scales, whole-half diminished and half-whole diminished. Any of the patterns in this section of the lesson can be applied to any key and fingering. The scale alternates half and whole steps until the scale starts again. A jazz scale is simply a scale that can be used over a piece of jazz music. Its one of these scales that just sound like jazz. The Octatonic scale is ascending in a sequence of a whole step and a half step alternatively. If you look closely, you end up with a C# diminished scale played in descending stepwise motion starting from C. You play this exact same scale ascending starting on C# (C# diminished ascending over C7) to get the "optimal alignment" of colorful tones (see the final notated example above for a visual). It is spelled half step/whole step/half/whole/half/whole etc. What is a diminished scale and how are diminished scales derived? This site uses Akismet to reduce spam. Don't take my word for it, try it for yourself and check out great jazz professionals' solos to see how they deploy the diminished scale. Here it is applied to the G diminished scale from the 6th string root. In jazz education, we often talk about “chord/scale relationships”. 7 Essential Jazz Guitar Scales for Beginners. Because of that it is also commonly referred to as the whole-half diminished scale. Josiah Boornazian is a saxophonist, composer, educator, and scholar primarily active in Brownsville, New York City, Miami, and California. As you may know the diminished scale can have any root note, there are only three sets of fingerings to learn. This is useful – one of the best ways to tap into the “diminished sound” is to play melodic patterns based on the internal structures of the diminished scale, as opposed to just running up and down the scale in stepwise motion. In this next line, you will use the Db diminished scale to solo over a popular jazz chord progression, iiim7-biiidim7-iim7-V7, in this case in the key of Bb major. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. People sometimes use several other names for the “half-whole” and “whole-half diminished” scales, but the other terms aren’t standardized, and are sometimes even contradictory. For more lessons like this... https://openstudiojazz.link/yhi-pm Be aware that there a number of exotic sounding melodic patterns you can create from the diminished scale because it is symmetric – see if you can come up with your own patterns, and happy practicing! It also shows you how the whole (W) and half (H) steps are used to create this octatonic scale. Improvisation With Diminished Scale Chord Sequence An F sharp diminished scale is used over the F sharp diminished chord, and a C sharp diminished scale is played over the C7 chord in the fourth bar (the ‘alt’ means that the chord could potentially contain altered notes such as … This lesson will introduce you to the diminished scale. Notice that the Dbdim7 bar features a diminished scale descending straight down from G to A, though halfway through the notes are raised an octave, rather than just continue straight down the scale in the original octave. Since they are “limited transposition” scales, you can’t generate modes from diminished scales the same way you can with an asymmetric scale, such as the major scale (also called the Ionian mode). The diminished arpeggio and the equivalent diminished scale also relate with these dominant chords: C7, Εb7, F#7, A7 We can convey these dominant chord qualities by playing that same diminished arpeggio one half step above the root of these chords. While, the Whole-Half Diminished Scale is used over a diminished chord. Notice the minor third symetry from chord to chord. This is because it allows the chord tones and the “colorful” notes to fall on the beat when using the diminished scale over dominant 7th (b9) chords. Since the diminished scale is more of a synthetic construction than an actual key or scale it can be difficult to make some good melodies with the scale. You can buy this theoretical argument or not, but I chose to stick with this theoretical viewpoint, and that's why I explained it the way I did. start on C ascending and descending. This is referred to as alternating 3rds. the half-whole diminished scales are often referred to as dominant diminished scales, because their application is generally for use with dominant chords. You are playing the first 3rd descending, followed by the second 3rd ascending. Instead of learning 2 versions it's easier to start the same scale on a different degree of the target chord (or even the whole progressions) and them get busy with something else. Here is a list of the 16 most important scales for jazz improvisation and the harmonic contexts in which they can be used for... For some, learning jazz can be a daunting task. Peter Martin demonstrates some useful applications for the half/whole diminished scale. Below we see and hear “Tetrachords” repeated or sequenced descending with the minor 3rd interval creating a beautiful flowing jazz double timed improvised line. It simply means figuring out how each scale relates to each chord and vice versa. Locate and That will emphasize the same pitches in both directions, and allow you to land well in both directions as well. Most importantly, it also makes resolving into the next chord generally easier and more natural. Likewise, you might already know how to play a diminished scale – but where do these scales come from, how are they theoretically derived, and what are their unique properties? For more information, please visit: https://www.josiahboornazian.com. Could you explain please? The diminished scale is often a bit tricky to study on the guitar, compared to the major scale modes which are usually quicker and easier to work out on the fretboard. In jazz history, definitely by the time bebop emerged, many improvisers were aware of and using the diminished scale. Most jazz standard progressions, where we find the diminished chords, are tonal. When using a descending diminished scale over a dominant 7th chord, you start on the root and follow the whole-half-whole-half… (etc. I think of the root of the V7 (#9) chord and use the “half/whole diminished scale”. The diminished scale is used to solo over diminished 7 (Dim7) chords. He is currently an Assistant Professor of Jazz and Applied Saxophone at the University of Texas Rio Grande Valley. Combine two fully diminished 7th chords a whole step apart, for example, combine             C(dim. Here’s a diminished 7th chord: There are 3 ways to think about constructing the scale that corresponds to the diminished chord: 1. The most common concept for the diminished scale is to sequence or repeat a motif by a minor 3rd. If you don’t believe me, try building diminished scales yourself and see how many unique scales you can generate before you wind up with a scale with the exact same pitches as the one you started on, just played in a different order. I hope this helps – and thanks for your comments! * The second example to the right identifies the dominant chords most associated with that particular scale. In jazz theory, it is called the diminished scale ( Campbell 2001, 126) or symmetric diminished scale ( Hatfield 2005, 125) because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as … If I apply normal harmonisation techniques it doesn’t make any sense, for example you derive a d major triad (with an f sharp) then an f major triad with a natural f. Etc etc. A great way to alter a dominant harmony in jazz is by using the diminished whole-tone scale. During the first half the 20th century, composers such as Bela Bartok and Igor Stravinsky began to make extensive use of the diminished scale in their compositions. The final practice pattern is a reversal of the pattern you just learned. Because of that it is also commonly referred to as the whole-half diminished scale. A jazz scale is any musical scale used in jazz. This line features a common scale pattern (1235) over the first three chords in this Rhythm Changes chord progression, including the Bdim7 chord in the second half of the first bar. It is something that you add as a surprising “outside” effect in your playing, even if that is not how we think about it, because it is a standard part of the dom7th sound repertoire. I'm not sure why the diminished scale works differently ascending or descending, but it does sound right when I play it the way you suggested. In the provided example, I used the first example from the previous section. Diminished Scale Guitar #2; Dennis Sandole Polytonal scales; Modern Jazz Fusion Chords; Jazz Fusion Music Theory #2. The diminished scale can be looked at from two perspectives: whole-half and half-whole. In the same way that we observed for the diminished chord, the diminished scale is repeated every three semitones. The meaning of this phrase is intuitive. The diminished sound has long been a favorite of jazz players. I absolutely see how this can be confusing, and I'm using language here in a certain way on purpose to make a theoretical point. You suggest this brings out "good" notes on the beat, but in the ascending diminished scale example you emphasize the exact opposite notes of those emphasized in the descending diminished scale?! The Diminished Scale is built upon two diminished seventh chords. There a few freak incidences of diminished scales in earlier periods of European “classical” music history, but diminished scales began to appear more definitively as a distinct musical idea in Western music during the so-called “Romantic Era” in the 19th century, especially in the music of Russian composer Nikolai Rimsky-Korsakov and his students/imitators. You will learn practice patterns, arpeggio patterns, and sample licks to help take your Dim7 soloing phrases to the next level. The “whole/half diminished scale” works over a fully diminished seventh chord. To begin, here are ascending 3rds through the G diminished scale. By the early 1900s, the idea of the diminished scale began to be formally theorized and codified. Thanks for the added explanation. This scale is primarily used in jazz music and works well together with alternate seventh chords. Jazz scales often get compared to the ‘blues’ scale. The first lick uses 3rds to solo over a Dim7 chord, in a four-bar phrase. Many guitarists make the mistake of thinking that there is a dedicated ‘jazz scale’ which they can used over any kind of jazz progression. If you look at the scale, every other note is a part of the chord. The next practice pattern variation features the first 3rd ascending followed by the second 3rd descending. Many of us may not be aware though that you can also use dominant 7th arpeggios from the scale to solo over Dim7 chords. The diminished scale is an eight-note scale that is built by picking a tonic note, and then alternating whole steps and half steps from that starting note. This technique is known as octave displacement and is used by many great jazz guitarists including Wes Montgomery, Joe Pass, and others. But, by working out various fingerings and practice patterns, you will ensure that you are ready to nail any Dim7 chord in your soloing lines the next time you run into one. It’s common in jazz to blanket the diminished scale over a whole “ii-7 (b5) – V7 (#9)” progression. Here’s a visualization to show what I mean: There are a few other types 7th chords you can extract from the diminished scale – see if you can find them for yourself: diminished major 7th, minor (major 7) b5, major 7 (sus 4) #5, and major 7 (sus 4) b5. Once you can play this fingering, make sure to move it to other keys. Diminished scales are symmetrical scales, meaning that they can only be transposed into another “key” a limited number of times before they repeat themselves – before you get the same scale with the exact same pitches, just starting on a different note. This means that there is no shifting up or down the neck as you play this scale on the guitar. The diminished scale is different from the dominant diminished scale, which alternates half and whole steps and is used to solo over dominant 7b9 chords. 8 Special Guests with Musical Failures, How to Use the Melody of a Jazz Standard to Develop Solo Ideas, The 16 Most Important Scales in Jazz [UPDATED], 9 Important Jazz Chord Progressions You Need to Master [UPDATED], Take 5: Strategies to Improve Your 5/4 Playing. Pentatonic scales © Copyright 2018 - Learn Jazz Standards, LLC, The Right Way to Use the Diminished Scale, LJS 52: Birthday Episode feat. Mastering this scale will allow you to confidently and musically solo over Dim7 chords the next time you encounter one in a jazz tune. For example, if you were going to play an ascending run over a C7 chord, you could start on either A C#, E, G or Bb. The login page will open in a new tab. Over a minor II-V7 with the diminished scale starting on the root of the II-7(b5) chord (resolving to the diatonic Dorian mode on the I- chord) – note that one diminished scale works nicely over both the II-7(b5) and the V7(b9) chords: 4. In jazz music however the term Octatonic scale is related to the diminished scale (since the scale is built out of two interlocking diminished seven chords which I'll show you later). Because you can solo over Dim7 chords with the diminished scale, it is no surprise that you can use Dim7 arpeggios built from this scale. It's harmonically complex, and because of this, there is a demand for a certain level... You have entered an incorrect email address! The dominant diminished scale can be applied to the V7 chord in a 2-5-1 chord progression, as well as the VI7b9 chord in any tune you are improvising on, which you will often see in a rhythm changes and jazz blues progression. Explore the music theory, practice exercises in all 12 keys, and learn from solo excerpts of master musicians like John Coltrane, Michael Brecker, Mulgrew Miller & more.