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DIMINISHED SCALE AND SELECTED VOICINGS
Scale Itself
[E] [A] [D] [G] [B] [E]
F Bb * Ab * F
* B E * C# *
G * F Bb D G
Ab C# * B * Ab
* D G * E *
Bb * Ab Db F Bb
B E * D * B
* F Bb * G *
C# * B E Ab C#
D G * F * D
* Ab C# * Bb *
E * D G B *
D-F-Ab-B DIM
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * F#
* * F * D *
Ab * * B * *
* * * * * *
* * Ab * F *
B * * D * *
* * * * * *
* * B * Ab *
D * * F * *
* * * * * *
* * * * * *
E-G-Bb-C# DIM
[E] [A] [D] [G] [B] [E]
* * * * * *
* * E * C# F#
G * * Bb * *
* * * * * *
* * G * E *
Bb * * Db * *
* * * * * *
* * Bb * G *
Db * * E * *
* * * * * *
* * * * * *
* * * * * *
A Basic Pattern
[E] [A] [D] [G] [B] [E]
F Bb * * * *
* B E * * *
G * F Bb D G
Ab C# * B * Ab
* D G * E *
* * Ab Db F Bb
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
A Nice fingering
[E] [A] [D] [G] [B] [E]
1 1 * * * *
* 2 1 * * *
3 * 2 1 1 1
4 4 * 2 * 2
* 4 4 * 3 *
* * 4 4 4 4
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *

There is so much that I can write about this primary synthetic mode, I almost left it out entirely, not knowing where to begin. First one might observe that it completes the octave with nine rather than eight notes. Thus the scale itself is composed of eight different tones. Like the whole tone scale, it is symmetrical. However, unlike the whole tone scale, this symmetry is very supple. In the scale illustrated below, the intervals progress by whole step then half step. First point of supple symmetry is that if we begin on the nex tone, G, then it is alternating half step whole step. Another is that every aspect of the scale patterns with respect to minor third intervals with no violation of harmonic/tonal integrity of relation to the gravitational tonality.

Jazz players, especially guitarists, from the twenties onward latched right on to the chords in the second table. This was a baby step towards systematizing the scale. On one level it is simplicity itself. Everything cycles by three frets.

This mode/scale is composed of two out of the three possible diminished seventh chords. This means that this one scale has six possible resolution centers! However, some will work better than others. A lot of the ramifications are still pretty much trial and error, leaving huge areas of exploration open. John Coltrane, most notably, looked deeply into the scale and its possibilities, opening gateways for us all. If anything, there is such a bewildering embarrassment of riches that if we look at the full diagram on the far left, most of us experience bewilderment.

Get started by using this scale to extract substitute chords and scalar patterns/fragments for a G7. As you get more comfortable, sidle it into all or part of a Dmi7 preceding a G7. Now buckle up. Since the scale is perfectly symmetric with regard to minor third intervals, any pattern can be played up or down any multiple of that interval.

It even gets better when you extrapolate tonal centers. If this scale resolves to C major, it also can resolve to Eb major, F#major, and A major. Employ your ears and enjoy a wonderful trial and error process in which you plunge in to find your own voice. Time and space permitting, I will expand this discussion in another section.

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Diminished Extractions

When we start deriving chords from the diminished scale we get such a wealth of ambiguities that one of the best approaches for musicality is to use the scale to cover not one chord alone, but two or more. The scale we have been using as an example achieves lovely tension resonances in against the tonal center of C. Build phrases and substitute chords across the entire II-V progression rather than use it solely for the V.

One chordal example would be to employ the Fma13 as an alternative to the D-7. It makes perfect harmonic sense because the F is the third, E is the ninth, Bb is a +5, and D is the root. The highly dissonant Bb, will progress smoothly into the natural B of the G13-9, also of the same scale. The first table below illustrates this by overlaying the gold G13-9 over the red Fma13. You can tap these notes as well for added depth and texture.

This maneuver cycles with the usual three fret, minor third intervals.

Although the party line regarding this mode is it has strong dominant characteristics for the tonal centers, C, Eb, Gb, .A, its ambiguities render it very elastic in its application. A major sticking point for many improvisers is the applied dominant of the II chord, which is crucial in developing fluid lines that are both vertical (arpeggiated) and horizontal (scalar) in character. In the charts below, I am keeping to C major cadences. In that case, the applied dominant or VI7 chord to the Dmi7 or II chord, would be A7 and all its extensions and alterations. However, that is just for convenience. It applies to all other tonal centers equally. It is worth noting that once the ear is hypnotized into anticipating a given tonal center, it can prove difficult for an abrupt shift to make any sense, despite the fact that it makes perfect sense on paper.

Although the root, A, itself does not occur in this mode, its richest harmonies do. This means that the same mode can provide lush points of voice leading across the entire turnaround. Thus one less knot you have to tie your mind into at the moment of truth. Take a look at the A7 chords, lacking the root that come out of this in the next table. Again, minor third cycles provide wonderful ramifications.

Saving the best for last, note the parallel G7 harmonies in the fingering starting with the D in the bass. The ambitious student is left to work out the remaining three fret fingering cycles, and to ponder their analysis. As for the last chord, it just occurred to me while I was typing this chart up.
Maj 13 Chords/13-9
[E] [A] [D] [G] [B] [E]
F * * * * *
* * E * * *
* * F Bb D *
* * * B * G#
* * * * E *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
A7 Harmonies
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * C# *
* * * Bb * *
* C# * * * *
* * G * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
Parallel G7
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * * D *
* * * B * *
* D * * * *
* * Ab * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
G7-9
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * * D G
* * * B * *
* * * * * *
* * Ab * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
Interesting
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * Bb D *
* C# * * * *
* * * * * *
* * Ab * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *

More on Diminished Extractions

We get four major triads, G, Bb, Db, A, as well as their associated sevenths, -9, -5(AKA +11), and thirteenths. The first table illustrates major triads alone. BTW, if you accidentally got here while looking for rudiments, and feel that this is too advanced, fool around with some of it anyway. Even tiny fragments might inspire a new song. Remember, it never would have stopped the early jazz and blues players, so why should you let it stop you?

The third table provides two of the four major chords in the scale applied across all six strings. The other two are left to the ambitious to elaborate. Even in this rudimentary, didactic form, if you just sweep the arpeggios one after the other, first Bb and then C#/Db, you can feel it gravitating into C major. Try it. This intuitive sense of tonal gravitation is whence the notion of Tonal Convergence, outlined in Ted Dunbar’s excellent (and highly recommended) book on the topic derives.

In this table we have nothing more than a Bb and a Db triad. Spatial considerations cause me to omit the additional E and G triads. It really looks like I’ve put nothing on the table. But remember what the entire scale looks like diagramed, there are almost too many notes for comfort. But if we extrapolate a little, and restrict a little we get the origins of bi-chordal thinking.



A favorite question in advanced jazz programs is the Bb/B formation in table four. What is it? How does it function? It is often stated as Bb with a B natural in the bass. Sounds wonderful, but what is it? We can analyze it as a C#13-9 without the root with the seventh in the bass. This becomes obvious if we look at the voices an octave above in the same table. But it serves a dominant function to C major, Eb major and A major as well. I wish to again remind you that the equivocal nature of these chords requires an aural context. It is a good rule of thumb to first establish the tonal center and then use these for tension. Otherwise you will risk a static sounding progression that will seem full of portentousness, without any conclusion. Leave that for Washington speech writers.

Saving the best for last again, it just occurred to me while I was typing this chart up, to look for this same group on the four lowest strings. It proves once again that this material is so dense with possibilities that every time I look at it I discover something new. The important thing about any of the four string groups is that you have room to ornament them with either bass lines or top lines, depending on how they fall under the hands.
D-G-B str Maj Triads
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * F Bb D *
* * * * * *
* * * * * *
* * Ab Db F *
* * * * * *
* * * * * *
* * B E G# *
* * * * * *
* * * * * *
* * D G B *
G-B-E 3 str Triads
[E] [A] [D] [G] [B] [E]
* * * * * F
* * * * * *
* * * Bb D *
* * * * * G#
* * * * * *
* * * Db F *
* * * * * B
* * * * * *
* * * E G# *
* * * * * D
* * * * * *
* * * G B *
6 str Ex.
[E] [A] [D] [G] [B] [E]
* * * * * F
* * * * * *
* * F Bb D *
* * * * * G#
* D * * * *
Bb * Ab Db F *
* * * * * *
* F * * * *
C# * * * * *
* * * * * *
* * * * * *
* * * * * *
Bb/B or C# chord?
[E] [A] [D] [G] [B] [E]
* * * * * *
* B * * * *
* * F Bb D *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * B * * *
* * * F * D
* * * * A# *
* * * * * *
Explore
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *
B * * D * *
* F Bb * * *
* * * * * *
* * * * * *
* * * * * *
* * * * * *