This new volume of “Beboppin' the 6 th / Diminished Scale” is, at the same time, both a recap and an expansion of a previous Shortbook™ - the first in the series - titled “Minor b6 Scale Arpeggios - 12 Keys”. The diminished scale is a symmetrical scale, and so there are not 12 distinct pitch collections, as there are with the major scale. Its one of these scales that just sound like jazz. ∑ & Relative Minor? It’s a scale that combines major and diminished together. Another name for the scale is the major bebop scale. Here are some of the best applications of the diminished scale: 1. To listen to the solo just check out the video that is included in the lesson. CLICK HERE TO SUBSCRIBE to JAZZ GUITAR TODAY YOUTUBE. You can play the diminished chord in all twelve keys. Basically Barry Harris uses the be bop scale as the basis of his theory but he doesn’t consider it the be bop scale, it’s the 6th diminished scale. This scale is written from the root note G, and so it is called a G diminished scale. Over the I chord, the voicings come from the major bebop scale and alternate between the major I6 and vii°7 chords. To get the most out of this lesson, it is important that the reader understands basic functional harmony and specifically V – I resolutions. Scale - Diminished 1,2,b3,4,b5,b6,6,7 FULL-th pattern Root note - D Guitar Tuning: Standard - E-A-D-G-B-E & Relative Minor? The Diminished Scale for Guitar. Its one of these scales that just sound like jazz. 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. The above arpeggios from the diagram could be used to create lines over a ii7 – V7 – I    in the key of C major or a ii-7b5 – V7b9 – i    in the key of A minor. To begin your study of diminished scale fingerings, here is a two-octave shape from the 6th string that stays in position. K. Hewtt & Diminished 6th scale??? K. Hewtt notes used & Diminished 6th scale??? Diagram scales: Major Degrees: 1-2-b3-4-b5-#5-6-7 or I-II-bIII-IV-bV-#V-VI-VII. The half-whole diminished scale is an 8 note symmetrical scale. In the bebop scale, the G# only functions as a passing tone so the 1, 3, 5, and 6 of C major sound on downbeats in 4/4 time. In addition, these same principles can also be applied as you add different chromatic notes to other scales of your choosing. Different voicings for different chords. In major scales, a diminished triad occurs only on the seventh scale degree.For instance, in the key of C, this is a B diminished triad (B, D, F). I cover the intervals and chords for each mode, their resolution tendency, and suggestions on how to use the diminished … There's a bit more in the video about using chords borrowed from these scales, but the specific voicings are quite pianistic -- listen, play along and see if you can devise your own chord sub ideas using these scales, as well as using them for melodic interest in your solos. This is difficult to remember. He doesn’t do chord scale theory, like other jazz teachings I’ve had. Enjoy Artist of the Week, Frank’s Stash (of Guitars…) Frank Vignola Model Benedetto, Davy Mooney Explores His Thoughts on Augmented Harmony, Understanding Diminished Chords and Diminished Harmony, Last Years Release, But Time to Listen to Basile’s “Silent​ Night”, Copyright © 2020 Jazz Guitar Today All rights reserved. Playing the scale in triads is one of my favorite exercises. Even more so if you take into account cultures that use quarter-tones. Use the Diminished Scale to Play Jazz – Bass Practice Diary – 6th November 2018 This week I’ve been practising using diminished sounds to play on dominant 7th chords in jazz. The diminished scale is a type of 8-note symmetrical scale. As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale". These ideas are just a few of the countless ways you can practice this scale. The full diminished scale will use 9 notes. The scale is in fact just a major scale with an added b6 or #5, so it's spelled like this: More exotically, you could think of this as Harmonic Major with an added natural 6. You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound. The dominant diminished scale is used to solo over dominant 7th chords, or more specifically 7b9 chords. 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. ], Korg Volca FM: Firmware 1.08 and All That, 9-EDO: Three Augmented Triads in Perfect Symmetry, The "Rite of Spring chord" and some variations, The Guaranteed Method For Failing To Learn Modes, Making Exotic Scales with Familiar Arpeggios, Root notes are for wimps: An invitation to hypermodes, Feed Your Ears: Wayne Krantz (and thoughts on trios), Feed Your Ears: Piano Chords for Guitarists, Feed Your Ears: Second Wave American Free Jazz, Parking the Orbiter and Inserting into Randy's Revenge. Here is what that looks like. [UPDATE: After posting this I was tipped off to Alan Kingstone's great book applying many of Harris's ideas to guitar. Another name for the scale is the major bebop scale. It can also be used for fusion and heavy metal. The diminished scale consists of alternating half-steps and whole-steps. The Diminished Scale is: An Octatonic Scale (i.e. This forms an amazing amount of harmonic possibilities that you can use to make songs super rich. For example, If I am playing over a ii7 – V7 – I     progression, I would play the 6th diminished scale of the I chord throughout. Adding a note to the major scale is quite easy, of course, but it will tend to lead you to play in a scalar, stepwise way; this way of thinking encourages you to see the underlying chord as the C6 arpeggio and the tension notes as the Bdim7, which is easy to find in relation to it. It could remind you of something you’ve heard bef… You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources -- if it's not there, search for the interval map "t, s, t, t, s, s, t, s" and you'll find it. We use cookies to ensure that we give you the best experience on our website. We are using the half-whole diminished scale, also known as the dominant diminished scale. The Diminished scale is an important scale used in Jazz but can also be used in blues. Another player to consistently use diminished patterns in creative ways was the great Kenny Kirkland. The diminished scale pattern is a whole – half step repeating pattern. When you hear a certain scale, you probably associate it with something. SUBSCRIBE to JAZZ GUITAR TODAY YOUTUBE ▶︎, Music Theory Specifically​ for Guitarists. The diminished scale is a symmetrical scale, and so there are not 12 distinct pitch collections, as there are with the major scale. The name “sixth diminished scale” is weird because music-theory-wise it’s not a jazz diminished scale in the traditional sense. Because the chordal use of this scale has been covered extensively by the likes of Barry Harris and other jazz educators, I will be focusing more on its linear possibilities. This use, similar to the I-ii bridge, takes advantage of the diminished chord’s ability to lead the listener’s ears in a certain direction. We assign numeric value (an interval) to each note, the scales will use the numbers 1 2 3 4 5 6 7 8. Diminished scales are symmetrical. The Diminished scale is an important scale used in Jazz but can also be used in blues. I'm unaware of a scale with harmonic applications of the added #5. Relative Major & (E7b9) (Am7) &? Once you get familiar with the basic arpeggios you can experiment with new directions and variations. Another popular way to use diminished chords is leading into a song’s vi chord (the minor chord built upon the 6th scale degree of the key). Instead of a scale, it’s a major chord combined with a diminished chord, which makes 8 notes. It produces a very cool jazz sound by a quite unexpected means. Barry Harris's Sixth Diminished Scale. It's played over altered dominant chords and has tensions b9, #9 & #11. It can also be used for fusion and heavy metal. However, this gets to be to confusing with a bb7 and b8, so enharmonic intervals are used to make it easier. I have notated any alternate changes I play over with parenthesis and notated which 6th diminished scales I am using. Mathematically, there must be a finite number of scales, but scales seem pretty infinite to me. Over a dominant 7 th (b9) chord, starting the diminished scale a half-step above the root (also sometimes called the... 3. This scale is primarily used in jazz music and works well together with alternate seventh chords. What is a Diminished Scale? The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea. There are only 3 diminished pitch collections, and each diminished pitch […] Once you feel comfortable with the above arpeggios, it is important to add some new ideas to your practice and playing. the intervals repeat in a pattern) Because it is a symmetrical scale (and much like the diminished chord) there are only three unique diminished scales: C = E♭ = G♭ = A diminished scale; D♭ = E = G = B♭ diminished scale In this solo I tried to use the 6th diminished scale as much as possible. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation {0, 3, 6, 9}.. The diminished pattern diminishes the 3rd, 5th, 6th, m7 and 8. I'm unaware of a scale with harmonic applications of the added #5. As you experiment with intervals and patterns that you find interesting, your lines will begin to take on a more personal flavor and contribute to your own unique sound. CLICK HERE TO SUBSCRIBE to JAZZ GUITAR TODAY YOUTUBE, Hector Manuel Quintana, Artist of the Week. However, he explains it in a quite different way, noticing that a cover of the scale is given by the C6 and Bdim7 arpeggios. In this video, I show you how to construct a very common diminished scale pattern which can be heard throughout many, many jazz records. Rank Root Scale Notes Intervals More Info; 1 : A : Half Diminished Scale : A,B,C,D,Eb,F,G : 1 2 b3 4 b5 b6 b7 These scales are developed mathematically using whole and half steps. The perfect chords to play the Diminished scale over would be Dominant chords with an altered 9th but a natural 13th (start with a half step as shown above) Chords In The Key. You can build every type of diminished chord from those 6 modes. If you want to bring a more jazz sound to your playing, using the diminished scale is a great way to do it. So this rule suggests that we can use this dim7 superimposition idea over minor chords as well as major! It is also important to understand that because C6 and A-7 chords share the same notes, this scale can also be used and analyzed in the relative minor key. So one way to think of this is "On a Maj7 type of chord, play the diminished arpeggio built on the 2, 4, #5 or 7. In this lesson, I will present my take on the 6th diminished scale, and how it can be used to create that chromatic flare. The function of the "6th diminished scale" may be different, however. Once you are comfortable with playing the scale in all these different ways, it is time to create lines that combine all these patterns and ideas. To start with, he points out that it contains the dominant 7 chord of the relative minor as well as the major keys, which makes for strong chord substitutions like E7-Am7 subbing for C6, and enables us to construct chord-scales like these (notice the different chord qualities that become available): C6 Dm7b5 Em7 FMaj7 G7 Abdim7 Am7 Bdim7 C6 It is a symmetrical scale in that it follows a distinct pattern, constructed from a repeated sequence of intervals (major second, minor second). This is unique to each person. 6 A‹7/C E7(b9) A‹7/E E7(b9) A‹7/G E7(b9) A‹7 E7(b9) A‹7/C 7 4 4 & Barry Harris Diminished 6th Scale Arr. Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale". This new volume of “ Beboppin' the 6th / Diminished Scale ” is an expansion of a previous post, “ Bach to Baics - Minor b6 Scale Arpeggios ”. When I improvise with this scale I am usually thinking in terms of harmonic generalization. The diminished scale is an eight note scale. C6 Dm7 Em7 FmMaj7 G7b9 Ab+ AmMaj7 Bm6 C6. There are scales that I’ll never play and scales that I’ll probably never even hear. This means that we can create some very interesting, repeating patterns. A different set of voicings, derived from the appropriate bebop scale, is used for each chord. Here is what that looks like in the key of C. You can generate lines over    ii – V – I    progressions in a similar way. You can, of course, use this on any Maj7 type of harmony as well as on chords explicitly written with a 6. In this case we have G7b9 and C6. Here are some of the lines that I have written down. The diminished scale can be created by stacking two diminished 7th chords a half-step apart on top of one another: Notice that the scale has eight unique notes, thus the name octatonic (which literally means eight tones). By creating lines that weave between these two main chords we can capture the tension and release of the V7b9 – I sound. Find guitar scales using graphic interface. The Diminished Scale for Guitar. It is a symmetrical scale in that it follows a distinct pattern, constructed from a repeated sequence of intervals (major second, minor second). This added note creates a unique set of diatonic arpeggios that alternate between the tense sound of the V7b9, (The diminished 7th chords are a common sub for V7) and the resolved sound of I6. 6 A‹7/C E7(b9) A‹7/E E7(b9) A‹7/G E7(b9) A‹7 E7(b9) A‹7/C 7 4 4 & REVIEW Drop 2 Drill on Diminished 6th Scale notes used notes used Arr. 6 A‹7/C E7(b9) A‹7/E E7(b9) A‹7/G E7(b9) A‹7 E7(b9) A‹7/C 7 4 4 & REVIEW Drop 2 Drill on Diminished 6th Scale notes used notes used Arr. Here i… As that title suggests, the focus was on the (Melodic) Minor “ Bebop Scale ”, the name coined by jazz education pioneer David Baker in the 1970s, as well as its history as a melodic device introduced by the Bebop … You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources -- if it's not there, search for the interval map "t, t, s, t, s, s, t, s" and you'll find it. The Diminished Scale is: An Octatonic Scale (i.e. Hector came to our attention via one of our JGT contributors – thanks John Stowell! Rank Root Scale Notes Intervals More Info; 1 : A : Half Diminished Scale : A,B,C,D,Eb,F,G : 1 2 b3 4 b5 b6 b7 Initially one can look at it as diminishing the 3rd, 5th, 6th, a m7th, and 8th. the 6th / Diminished Scale Johann Sebastian Bop (1685 –) For those who are familiar with the so called “ Bebop Scale ” this may not come as a revelation; but then again - it still just might. The diminished scale consists of alternating half-steps and whole-steps. In the case of this scale, not every arpeggio will form a traditional triad, but the concept of stacked thirds still works. Publisher viethrive.com. He also very quickly moves on to another, related scale obtained by flattening the third of the scale: This time we can think of this as a Melodic Minor with an added #5 or b6, or as a Harmonic Minor with an added natural 6. Another way to weave through the scale is by playing 3ths. There are only 3 diminished pitch collections, and each diminished pitch […] The diminished scale is built with a direct formula of whole and half steps repeated one after the other. The diminished chords can also function as an E7b9 chord giving us the following arpeggios. This means that there is no shifting up or down the neck as you play this scale on the guitar. It looks like this. Once you can play this fingering, make sure to move it to other keys. Start by composing lines and writing them down. It produces a very cool jazz sound by a quite unexpected means. ∑ & Relative Minor? Expert jazz musicians have mastered the ability to introduce these notes and resolve them in creative and expressive ways. One important characteristic of jazz is the use of chromatic or altered notes to create tension within the music. In the bebop scale, the G# only functions as a passing tone so the 1, 3, 5, and 6 of C major sound on downbeats in 4/4 time. it has 8 notes) A Symmetrical Scale (i.e. Since a diminished seventh is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, ♭ 3, ♭ 5, ♮ 6). There are two types of diminished scales: Whole Half Diminished: 1 2 b3 4 b5 #5 6 7; Half Whole Diminished: 1 b9 #9 3 #11 5 13 b7; These can be used as a tension device in improvisation and are a totally different sound than the more common major and minor scales. Relative Major & (E7b9) (Am7) &? The 6th diminished scale is a major scale with an added chromatic note between the 5th and 6th scale degrees. This is what I call a "disjoint cover" because the two parts share no common notes. If your into jazz this is one you need to learn. Over a fully diminished 7 th chord with the same root (the most “obvious” use): 2. You can actually start with a whole-step or a half-step, and the intervals alternate. The minor pentatonic scale uses the same notes as the major pentatonic scale, but begins on the sixth scale degree of the corresponding major scale. Whereas in minor scales, a diminished triad occurs on the 2nd scale degree. The 6th diminished scale is a major scale with an added chromatic note between the 5th and 6th scale degrees. The diminished scale is an eight note scale. Using enharmonic spellings the diminished scale will have a dim 5th and an aug 5thand is much easier to work with. In this nomenclature, minor is employed in the sense of relative key , as the diatonic A minor scale is the relative minor of the diatonic C major scale. For the uninitiated, a basic Bebop Scale is a Major scale with an added passing tone between the 5th and 6th scale degrees (Ab in C Maj.). This use, similar to the I-ii bridge, takes advantage of the diminished chord’s ability to lead the listener’s ears in a certain direction. If your into jazz this is one you need to learn. Example lines over  ii – V – I  progression. The dominant diminished scale is used to solo over dominant 7th chords, or more specifically 7b9 chords. Being a pianist, though, Barry shows us a bit more when he moves to thinking of it in terms of chords. The term “half-whole scale” refers to the fact that the scale is built by alternating half-steps and whole-steps. Diagram scales: Major Degrees: 1-2-b3-4-b5-#5-6-7 or I-II-bIII-IV-bV-#V-VI-VII. In major scales, a diminished triad occurs only on the 7th scale degree. Master the three variations of the diminished scale (C, C#, D) Explore scale pattern exercises (use Herbie’s lines as a starting point) Apply this scale to V7 sounds in your solos; V. Kenny Kirkland and the diminished sound. An Improviser's Essential Element. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). Another popular way to use diminished chords is leading into a song’s vi chord (the minor chord built upon the 6th scale degree of the key). Relative Major & (E7b9) (Am7) &? it has 8 notes) A Symmetrical Scale (i.e. Another player to consistently use diminished patterns in creative ways was the great Kenny Kirkland. There are four diminished modes in the harmonic minor scale and two diminished modes in the melodic minor scale. There are four diminished modes in the harmonic minor scale and two diminished modes in the melodic minor scale. The Diminished Scale. I cover the intervals and chords for each mode, their resolution tendency, and suggestions on how to use the diminished … Again we have an alternative perspective provided by a disjoint cover: the m6 arpeggio plus the same dim7 we used before. You can build every type of diminished chord from those 6 modes. You can actually start with a whole-step or a half-step, and the intervals alternate. It's really good. Master the three variations of the diminished scale (C, C#, D) Explore scale pattern exercises (use Herbie’s lines as a starting point) Apply this scale to V7 sounds in your solos; V. Kenny Kirkland and the diminished sound. Each scale connotes something different. 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Youtube ▶︎, music Theory Specifically​ for Guitarists your study of diminished scale our contributors! To be to confusing with a bb7 and b8, so enharmonic intervals are used to make it easier 6th! Tension and release of the added # 5 weave through the scale is used 6 diminished scale fusion and metal... There is no shifting up or down the neck as you play fingering! `` disjoint cover: the m6 arpeggio plus the same dim7 we used before this site we assume! Though, Barry shows us a bit more when he moves to thinking of in... Actually start with a diminished triad occurs only on the 2nd scale.! Even hear included in the melodic minor scale and two diminished 6 diminished scale the! This I was tipped off to Alan Kingstone 's great book applying of! Whole – half step repeating pattern as major when I improvise with this scale is an important used. Sixth diminished scale '' may be different, however, however G diminished:... 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