This will facilitate logic. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. We especially recommend that you play the diminished arpeggio in this case, to strengthen this impression that there is a diminished chord there. The Diminished Scale is also referred to as the Whole-half Diminished Scale since it is constructed by every second whole and half steps (notice also that it is a symmetrical scale). It must not be confused with the Diminished Whole Tone Scale, see the Dominant Diminished Scale. As this scale is repeated every three semitones, we can also play the B diminished scale (three semitones above G#). Guitarist Yngwe Malmsteen explores this feature a lot. As you might imagine, the diminished scale can be played over the diminished chord. 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”. D: D, E, F, G, Ab, Bb, B, C#, D In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). 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. In other words, it is as if we are “creating” an ascending passing diminished chord. ©2014-2020 All Rights Reserved - Simplifying Theory. C#/Db: C#, D#, E, F#, G, A, Bb, C, C# But each person has their own preference. 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. A: A, B, C, D, Eb, F, Gb, Ab, A 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. Semi-notes: 2 - 1 - 2 - 1 - 2 - 1 - 2 - 1 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. 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). Follow the logic: Since this scale is repeated every three semitones, we can think about playing it starting from others degrees. This dom-dim scale is nothing more than the diminished scale shape that we showed starting from the second degree instead of the first. This scale is primarily used in jazz music and works well together with alternate seventh chords. Diminished Scales. The diminished scale is a symmetric scale formed by the sequence: Tone – Semitone – Tone – Semitone – Tone – Semitone – Tone.. Adopt a reference point that makes you feel comfortable and practice using this scale in a musical context. G#/Ab: G#, A#, B, Db, D, E, F, G, G# As we will see later, you can use the C diminished scale over B7. The Diminished Scale is built upon two diminished seventh chords. F#/Gb: F#, G#, A, B, C, D, D#, F, F# Well, let’s say you are improvising a solo in E minor until, at a certain point in the song, the B7 chord appears. 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 your band is playing a song that contains the chords | C | D | Em |, repeated in that sequence. In this case, we are deceiving the listener by making him believe that there is a diminished chord at that point. D#/Eb: D#, F, F#, G#, A, B, C, D, D# In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). There are only 12 keys which means that there are only 3 diminished scales. Okay, and what’s the advantage of that? The Diminished Scale. We are calling a virtual diminished chord a diminished chord that does not exist in the song, but one that could exist. 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). It sounds crazy, but it is very simple. Diminished scales are symmetrical and repeat in minor 3rds meaning that 1 diminished scale is actually 4 diminished scales. B: B, C#, D, E, F, G, Ab, Bb, B, Intervals: 1, 2, b3, 4, b5, b6, 6, 7 The diminished scale used on top of G7 is the G# diminished scale (one semitone up from the dominant). The Diminished Scale is built upon two diminished seventh chords. The most common application of the diminished scale is in the dominant chord. 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). F: F, G, Ab, Bb, B, C#, D, E, F In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). Another advantage is the repetition of patterns on string instruments. That’s right, don’t be alarmed! We will see this concept applied in the examples. There is no point in memorizing things that will not be applied in practice. You can make up a phrase on the diminished scale and repeat it every three semitones, creating a very interesting effect. 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. 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. E: E, F#, G, A, Bb, C, C#, D#, E This scale is primarily used in jazz music and works well together with alternate seventh chords. Thinking about a scale one semitone above G7 can slow our response a little when improvising. 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. Diminished Scales overview This should not be strange, after all it is the diminished scale that forms the diminished chord. For example, the G7 chord is a dominant that resolves in C major. C: C, D, Eb, F, Gb, Ab, A, B, C 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! Copyright © 2012-2020 pianoscales.org. See an example of shape for the dimished scale of C below. The Diminished Scale is: An Octatonic Scale (i.e. We will explain this concept. This is just one way of thinking, and it can be very useful in practice. Create your own musical phrases and get fluent in this topic. 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