Diminished Scales. As we will see later, you can use the C diminished scale over B7. Another advantage is the repetition of patterns on string instruments. This scale is primarily used in jazz music and works well together with alternate seventh chords. Each of these scales can be used for material over the 4 dominant 7th chords, and the 4 diminished chords in which it is related. Guitarist Yngwe Malmsteen explores this feature a lot. A: A, B, C, D, Eb, F, Gb, Ab, A The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. The Diminished Scale is built upon two diminished seventh chords. Moral of the story: the dom-dim scale is the diminished scale applied on top of the dominant chord. Okay, and what’s the advantage of that? This should not be strange, after all it is the diminished scale that forms the diminished chord. Semi-notes: 2 - 1 - 2 - 1 - 2 - 1 - 2 - 1 ©2014-2020 All Rights Reserved - Simplifying Theory. 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 See an example of shape for the dimished scale of C below. Well, let’s say you are improvising a solo in E minor until, at a certain point in the song, the B7 chord appears. Now it’s time to show the application of this scale, after all, it’s useless to keep talking about it if what really matters is knowing where you can use these concepts! This is just one way of thinking, and it can be very useful in practice. G: G, A, Bb, C, C#, D#, E, F#, G This scale is primarily used in jazz music and works well together with alternate seventh chords. Imagine that your band is playing a song that contains the chords | C | D | Em |, repeated in that sequence. But each person has their own preference. It is also a so-called symmetrical scale since the intervals are consistent. The Dominant Diminished Scale consists of eight notes, and therefore belongs to the category of octatonic scales. Since B is one semitone below C, we can think that the diminished scale to be used is located one semitone below the chord that the dominant will resolve in. Imagine that you are improvising a solo in a song that is in C major, that is, you are using the C major scale. The Diminished Scale is built upon two diminished seventh chords. B: B, C#, D, E, F, G, Ab, Bb, B, Intervals: 1, 2, b3, 4, b5, b6, 6, 7 The most common application of the diminished scale is in the dominant chord. D: D, E, F, G, Ab, Bb, B, C#, D And the listener accepts it, because this progression is very pleasant! G#/Ab: G#, A#, B, Db, D, E, F, G, G# That is, instead of the sequence being: tone-semitone-tone-semitone, etc; starting from the second degree, we will have: semitone-tone-semitone-tone, etc. There are only 12 keys which means that there are only 3 diminished scales. Create your own musical phrases and get fluent in this topic. D#/Eb: D#, F, F#, G#, A, B, C, D, D# The Diminished Scale. In other words, it is as if we are “creating” an ascending passing diminished chord. The Diminished Scale is: An Octatonic Scale (i.e. Therefore, don’t think that they are different scales, just consider that it is the same diminished scale, only applied on top of the dominant (played a semitone above it). The diminished scale is a symmetric scale formed by the sequence: Tone – Semitone – Tone – Semitone – Tone – Semitone – Tone.. A#/Bb: A#, C, Db, Eb, E, Gb, G, A, A# Diminished scales are symmetrical and repeat in minor 3rds meaning that 1 diminished scale is actually 4 diminished scales. As this scale is repeated every three semitones, we can also play the B diminished scale (three semitones above G#). It can be played a semitone above the dominant chord in question. Thinking about a scale one semitone above G7 can slow our response a little when improvising. For example, the G7 chord is a dominant that resolves in C major. It is at this point that most students give up, after all the diminished chord does not appear as often in most musical styles; and when it does, it is mostly for a very short period, with no time for a diminished “phrase” to be developed. C#/Db: C#, D#, E, F#, G, A, Bb, C, C# This dom-dim scale is nothing more than the diminished scale shape that we showed starting from the second degree instead of the first. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). See an example of shape for the dimished scale of C below. The cool thing is that this passing diminished is so well accepted in this context that we can make a solo as if this chord were there, even if it is not there. Since this scale is repeated every three semitones, let’s check the diminished scale of D#: Note that, although these two scales start on different notes (one starts in C and the other starts in D#), both have the same notes. This scale is primarily used in jazz music and works well together with alternate seventh chords. We will see this concept applied in the examples. Formula: Whole, Half, Whole, Half, Whole, Half, Whole, Half, contact | about | sitemap | policy The Diminished Scale is built upon two diminished seventh chords. Obviously, we are not creating another bar, the diminished chord is just dividing the same bar as D. Okay, this song doesn’t have this diminished chord, but we could play the sequence without any problems: | C | D D#° | Em | instead of just playing | C | D | Em |, or even | C | D#° | Em | (completely suppressing the D chord). If the G7 chord ever appeared, it would be very practical to think about using the diminished scale one semitone below C, as it is very close to the region where you are playing your solo. Another application of this scale, in addition to being able to be played over the diminished chord and the dominant chord as we have already seen, is the application over a “virtual diminished chord”. Notice now that we used exactly this second sequence on top of the dominant chords, because in the previous example we played the G# diminished scale starting from the G note, that is, the structure was semitone-tone-semitone-tone, etc. This is one of the advantages. It is very worthwhile to invest time in this study. In the same way that we observed for the diminished chord, the diminished scale is repeated every three semitones.This is very advantageous, as it opens up a very wide range of possibilities. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). But as this scale is identical to the D# scale, and D# is much closer to E than C, we can take advantage of this small distance and use the D# diminished scale (instead of C diminished) to make improvisation more fluent. The diminished scale is a fantastic feature; has a unique sound and enchants any listener. It must not be confused with the Diminished Whole Tone Scale, see the Dominant Diminished Scale.
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