Escala Diminuta

Discover the power of the dominant diminished scale | KeyboardMag http://www.keyboardmag.com/jazz/1303/discover-the-power-of-the-do...
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Discover the power of the dominant diminished scale
BY ANDY LAVERNE
July 1, 2015
My Quartal Chords in Motion article in the June 2014 issue of Keyboard presented an overview of various types of chordal (including quartal) structures that move across the
keyboard. Now, well dig deep into voicings and lines created exclusively from scale tone triads. All this digging has unearthed a discovery of sorts, which will be revealed as you play
on. As a bonus, this online version of the article contains two extra exercises (Ex. 8 and Ex. 9) that didnt appear in the June 2015 print issue.
1. Diminished Basics
The diminished scale is an eight-note scale that alternates whole steps and half steps (ascending). The dominant diminished
scale in Ex. 1 alternates half-steps and whole-steps (ascending). The dominant diminished scale is actually a mode of the diminished scale. Start the diminished scale from the second
degree, and you have a dominant diminished scale. Another way to visualize the diminished scale is that its two diminished seventh chords separated by a whole-step. (The dominant
diminished scale can be thought of as two diminished seventh chords separated by a half-step.)
2. Scale Tone Triads
4 de 12 02/01/2016 15:48
Ex. 2 illustrates how the four main triads in the C dominant diminished scale are built from C, Eb, Gb and Awhich are all
minor thirds apart. Another point of interest is that both the dominant diminished scale and diminished scales can only be transposed three times before duplicating notes.
3. The Tritone Scale
Ex. 3 demonstrates how combining the notes of the C major and Gb major scale tone triads from the C dominant diminished
scale results in a six-note scale known as the tritone scale. Combining the opposing tritone triads in the C dominant diminished scale (Eb major and A major) creates another tritone
scale.
4. Linear Patterns
Ex. 4a illustrates a linear pattern derived from the C tritone scale, outlining the two tritone triads.
Ex. 4 illustrates a linear pattern derived from the C dominant diminished scale using all four scale tone triads.
5. Triad Workout
Ex. 5a shows a C major triad over a Db in the bass. Db is a scale tone, and the flatted ninth in the C dominant diminished scale. This structure can be
used as a C7b9 chord voicing.
Ex. 5b transposes the C major triad up an octave, and fills the intervallic distance between both hands by doubling two of the notes from the C major triad
in the left hand for optimal spacing.
6. Triads in Motion
5 de 12 02/01/2016 15:48
Ex. 6a contains the left hand structure from Ex. 5b, while arpeggiating the
four major scale tone triads in the right hand, moving both hands up in minor thirds. Note that triads are in the first inversion.
In Ex. 6b, the four scale tone triads are in the second inversion, with both
hands move down in minor thirds.
7. Triad Substitutions
Ex. 7a reveals our discovery. In place of the left-hand diminished structures, you can play scale tone triads. These are in second
inversion, which is the preferred inversion for this application. Also notice the right-hand and left-hand triads are separated by a minor tenth (an octave plus a minor third).
Ex. 7b is similar to 7a except the distance between the right- and left-hand triads is a tritone up an octave.
Ex. 7c has the right-hand and left-hand triads separated by a sixth.
Ex. 7d has triads that start a minor tenth apart and expand in contrary motion minor thirds. You can keep going until you run
out of keys!
8. Triad Variations
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In Ex. 8a, we alternate playing the two outer notes of the triad inversion with the inner note. This creates a pivot to the next
triad.
In Ex. 8b we arpeggiate the triads for a melodic application.
9. Dominant Diminished Concepts in Action
Ex. 9 uses the chord changes of the venerable jazz standard I Got Rhythm (aka Rhythm Changes) to plug in the dominant diminished scale tone triad pairs and hear them in a
functional context. Most of the chords are changed to dominant seven flat nine for this exercise. Preceding the triads are the roots of the chords of the progression, to help identify the
function of the triadic voicings. The exceptions to the dominant diminished triads are the F min7 in bar 5, the Ebmaj7+4 in bar 6, the C min7 in bar15, and the Bbmaj7+4 in bar 16.
These are all constructed using scale tone triad pairs from the Dorian (minor 7) and Lydian (major 7+4) modes of the major scale.
7 de 12 02/01/2016 15:48
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Discover the power of the dominant diminished scale | KeyboardMag http://www.keyboardmag.com/jazz/1303/discover-the-power-of-the-do...

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Discover the power of the dominant diminished scale

2. Scale Tone Triads

3. The Tritone Scale

Ex. 7c has the right-hand and left-hand triads separated by a sixth.

In Ex. 8b we arpeggiate the triads for a melodic application.

9. Dominant Diminished Concepts in Action

Keep up-to-date on the latest news

Sync those scales for better bebop solos

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These are my comments.

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Keys and Synths

Sign up for the FREE Keyboard Magazine newsletter!

What's your most important musical goal for 2016?

Finish a project (album, EP, score, etc.)

Book better shows or a tour

Earn more money with music

Setting goals is for sellouts

See results without voting

NewBay Music Publications

Brian May and Motorhead Perform Overkill Live in 2000

Waves Releases Greg Wells PianoCentric Plug-in

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