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. This scale is primarily used in jazz music and works well together with alternate seventh chords. The Diminished Scale is built upon two diminished seventh chords. Create your own musical phrases and get fluent in this topic. ©2014-2020 All Rights Reserved - Simplifying Theory. 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! In this case, we are deceiving the listener by making him believe that there is a diminished chord at that point. 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 Dominant Diminished Scale consists of eight notes, and therefore belongs to the category of octatonic scales. 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. A#/Bb: A#, C, Db, Eb, E, Gb, G, A, A# Copyright © 2012-2020 pianoscales.org. This is very advantageous, as it opens up a very wide range of possibilities. Diminished Scales. it has 8 notes) A Symmetrical Scale (i.e. Imagine that your band is playing a song that contains the chords | C | D | Em |, repeated in that sequence. B: B, C#, D, E, F, G, Ab, Bb, B, Intervals: 1, 2, b3, 4, b5, b6, 6, 7 The Diminished Scale is: An Octatonic Scale (i.e. D#/Eb: D#, F, F#, G#, A, B, C, D, D# There are only 12 keys which means that there are only 3 diminished scales. Formula: Whole, Half, Whole, Half, Whole, Half, Whole, Half, contact | about | sitemap | policy Thinking about a scale one semitone above G7 can slow our response a little when improvising. See an example of shape for the dimished scale of C below. 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 the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). We are calling a virtual diminished chord a diminished chord that does not exist in the song, but one that could exist. C: C, D, Eb, F, Gb, Ab, A, B, C C#/Db: C#, D#, E, F#, G, A, Bb, C, C# That’s right, don’t be alarmed! 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. This scale is primarily used in jazz music and works well together with alternate seventh chords. 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). As you might imagine, the diminished scale can be played over the diminished chord. This dom-dim scale is nothing more than the diminished scale shape that we showed starting from the second degree instead of the first. You can make up a phrase on the diminished scale and repeat it every three semitones, creating a very interesting effect. G: G, A, Bb, C, C#, D#, E, F#, G Adopt a reference point that makes you feel comfortable and practice using this scale in a musical context. This is just one way of thinking, and it can be very useful in practice. F#/Gb: F#, G#, A, B, C, D, D#, F, F# D: D, E, F, G, Ab, Bb, B, C#, D 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. It sounds crazy, but it is very simple. It is very worthwhile to invest time in this study. G#/Ab: G#, A#, B, Db, D, E, F, G, G# In other words, it is as if we are “creating” an ascending passing diminished chord. Diminished Scales overview We will explain this concept. And the listener accepts it, because this progression is very pleasant! After the D chord comes the E minor chord, but we have already mentioned on another article that the diminished chord goes very well as a passing diminished chord between a major and a minor chord (in this case, we would have the Major – Diminished – Minor sequence, being: D, D#°, Em). The Diminished Scale is built upon two diminished seventh chords. This will facilitate logic. Then the student thinks: “Why am I going to waste time memorizing this scale if I will never use it?” And this is absolutely right! A: A, B, C, D, Eb, F, Gb, Ab, A Semi-notes: 2 - 1 - 2 - 1 - 2 - 1 - 2 - 1 It is also a so-called symmetrical scale since the intervals are consistent. The diminished scale is a fantastic feature; has a unique sound and enchants any listener. Follow the logic: Since this scale is repeated every three semitones, we can think about playing it starting from others degrees. 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. This should not be strange, after all it is the diminished scale that forms the diminished chord. E: E, F#, G, A, Bb, C, C#, D#, E 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. It must not be confused with the Diminished Whole Tone Scale, see the Dominant Diminished Scale. Okay, and what’s the advantage of that? We will see this concept applied in the examples. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). In this case, the tonic (fundamental) of the dominant chord is played (that is, the scale starts with that note) and then the diminished scale is played a semitone above that tonic. 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. This is one of the advantages. But each person has their own preference. This scale is primarily used in jazz music and works well together with alternate seventh chords. 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”. There is no point in memorizing things that will not be applied in practice. The Diminished Scale. 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). As we will see later, you can use the C diminished scale over B7. Diminished scales are symmetrical and repeat in minor 3rds meaning that 1 diminished scale is actually 4 diminished scales. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. 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. F: F, G, Ab, Bb, B, C#, D, E, F 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. Well, let’s say you are improvising a solo in E minor until, at a certain point in the song, the B7 chord appears. Eight notes, and it can be very useful in practice enchants any listener phrase on the diminished over! 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