Lesson 40: HW diminished

The use of the “half -whole” diminished scale over a dominant 7th chord can create some interesting and complex sounds.  This “octatonic” scale outlines specific tensions – b9, #9, #11 and natural 13.  There are a lot of possibilities for different triads and shapes that create unique melodies, stimulating melodies. 

This simple phrase outlines 3 major triads in root position with and added b9, each ascending by minor thirds over one dominant 7th chord.  The melody could also be analyzed over the one root  as #9, 3, 5, b7 – #11, 5, b7, b9 – 13, b7, b9, 5 (each of these 3 shapes are symmetrical).

The major 7  melody that fallows the diminished passage  is an Major 9 arpeggio in root position.

To expand on this idea, try using shape variation of the major triad with an added b9 and group them in minor 3rd or tri-tones ascending and/or descending over the dominant 7th chord.  There are many possibilities just by modulating these 4 note groupings.

~Enjoy!

HW Diminished to I Major 9 PDF

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


.

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

Leave a Reply

Your email address will not be published. Required fields are marked *