D NISHED PAGE cD TRACK 4 Introduction 1 4 About the Audio ‘Tuning 2 5 The Diminished Scale in a Tonal Context 3-6 7 ‘The Diminished Scale with Chromaticism 710 EEGs 9 Diminished Triads 1-12 10 Major Triads 13-14 n Minor Triads: 15-17 13 Diminished Arpeggios and Polytonalities 18-25 HAPTER (4 v7 Diminished Variations in a Modal Context 26-32 a Acknowledgements 22 GUITAR NOTATION LEGENDIntroduction The diminished scale is frequently heard in jazz and fusion music. Although it is less common in rock, the diminished scale remains an important tool for improvi- sation and composition. In this book, we will explore difterent ways to use this scale in a variety of musical situations you may encounter—in jazz, fusion, and rock. The intervallie structure of the diminished scale alternates between a whole and haif step (whole-half) or a half and whole step (halt-whole). Each version is an eight-ncte-per-octave symmetrical scale. diminished (whoke-neth S65 — SSS Because it is a symmetrical scale, the diminished scale has four possible roots. The C diminished scales above could also be called E> diminished, G! diminished, and A diminished. Because of this, there are only three cifferent diminished scales in total, just like the diminished seventh chord. To begin, we will use the diminished scale (employing major and minor triads, arpeggics, and added chromatic notes) in lines over dominant 7th chords. Then ‘we will move on to use the diminished scale over other harmonies such as minor seventh, major seventh, major seventh sharp-eleventh, and others. About the Audio The audio symbols, 2. found throughout this book indicate the CD track num- ber where each example will be found Each example is played several times at full tempo, then at half speed. In addition, short introductory phrases (which are not transcribed in the examples) are some- times included to provide a better sense of context and to maintain an improvisa- tional feel.CHAPTER 1 The Diminished Scale in a Tonal Context a ‘Example 1: 1i-V-1 (in Bb major) The chord progression is Cm7-F7bg-Bbmaj7. Over the V chord (F759), the dimin- ished scale (haif-whole) is used. This example uses three triads per scale pattern before resolving to Bbmaj7. Bbinal7 > "Example 2: V4 (In © major) The progression is Dm7—G7'9-Cmaj7, This example uses an ascending dimin- ished scale over the V chord (G7b9) before resolving to Cmai7. —- — SS SSod ‘Example 3: I-VI (in G minor) The progression is Am7b5-D7b¢-Gm7. Note the diminished scale pattern with wider intervals used over the V chord (D7b8). Abs 0 ama oR ‘The progression is Em7>5—A7b9-Dm7. Here is another example using the dimin- ished scale over the V chord, in this case A759, Ano Du?The Diminished Scale with Chromaticism @ [Bane SV tnd majon The progression is Em7—A7>9-Dmaj7. This time chromatic notes are added with- in the diminished scale over the V chord (A7>9). SSS = Em Ano es 9 Example 6: VI (in E major) The progression is Flm7-B7b9-Emaj7. Example 6 uses the same idea as Example 5—chromaticism is added to the diminished scale to create different color tones.(OT The progression is Em75~A7be-Om7. Example 7 adds a chromatic passing note to the diminished scale and resolves to a minor tonic chord. EmTss i ———as 28 $ d Example 6: i-V-i (in F minor) The progression is Gm7)5-C7b9-Fm7. This straight ahead bebop line utilizes the diminished scale with added chromatic notes on the V chord (C79), resolving to Fm7, G75 SSCHAPTER 2 Diminished Triads Example 1: Diminished Triads over Cm7 The progression is Cm7-Fm7. This example uses Db diminished arpeggios over > m7. Triplet Feel (5-59) Cm? aie ple-f e7 pieke 6 ——— == 2 ‘0 T 6 = a 2 Affe te Fn? - SS SS | —4_42_ ig —— as The progression is Asus4—A. This example incorporates a Bb diminished arpeggio Example 2; Diminished Triads over Asus4 and A with additional passing tones over an A tonal center. ite aa BH a)Major Triads > amare aT Example 3 moves major thirds symmetrically by an interval of a minor third (fol- lowing a diminished scale pattern) over G7. Bag Example 4: Major Triads over Cm7_ This time, we'll play major triads with an added flat-ninth, moved symmetrically in tritone intervals (following a diminished scale pattern) over Cm7. cm? Shehe, fi poes ee ne = pos FR SEE teey ti 68 |Minor Triads <> [Beanple 5: minoriads over F7 and FT ‘The progression is F7—-F#7. Example 5 uses minor triads, moved in intervals of a minor third, Fe? the an ip ith wel ie EE be be te ie tebe ef pe + = This example uses minor triads with an added flat-fifth and some chromaticism. Triplet Feet 0S:CO TT

[Raapie Overs Here, diminished arpeggios are moved up chromatically, creating a sort of poly- tonal sound. This example incorporates two-handed tapping technique. eof OP Ff peg Tor T Tr fF Siete ea 6 120 2151015 > 44 eS 1812 15 1