How to Use the Diminished Entire-Tone Scale in Jazz Improvisation

A fantastic way to change a dominant harmony in jazz is by working with the diminished whole-tone scale. This scale is a combination of a diminished scale and a entire-tone scale. The scale is spelled out: 1/2 full 1/2 whole full entire entire (methods). See the very first 50 percent of the scale is diminished and the 2nd fifty percent is complete-tone.

There is a a great deal easier way to sort this scale. In reality the diminished full-tone scale is the 7th mode of melodic insignificant. To start with let us just take a seem at all of our minimal scales. We define the slight seem as acquiring a b3. Recall the 6th method- Aeolian. This is an additional title for Normal insignificant. If I review a Organic slight scale to a Key scale the spelling is: 1 2 b3 4 5 b6 b7 8. (We call it b3 b6 and b7). Organic insignificant has two unique versions. The initial variation is named Harmonic minimal. As opposed to significant it is spelled: 1 2 b3 4 5 b6 7 8. (We phone it b3 b6) The 2nd variation is named Melodic minimal. It is spelled: 1 2 b3 4 5 6 7 8. (We simply call it b3). It need to also be pointed out that the melodic minor scale is b3 on the way up, and on the way down it variations again to a purely natural slight (b3 b6 b7). We only treatment about the way UP. The other slight scale we have is Dorian which is spelled: 1 2 b3 4 5 6 b7 8. (We call this b3 b7).

I pointed out that it is the 7th method of melodic minimal. Let us glance at a C melodic small scale. C D Eb F G A B C. If we look at the 7th take note (B) and go up 1/2 step (to C) we can figure out the key we are taking part in in. This is the correct very same strategy we used to perform modes centered on a key scale. A diminished whole-tone scale is truly just setting up on the 7th take note of a melodic minor then going to the 8th notice (or 1st notice) and continuing to perform right up until I get back to the 7th note. B diminished complete-tone is then played like this: start out on B, then go up 1/2 step (to C) and now enjoy C melodic small!

To sum it up: to type a diminished whole-tone, start on the take note (whatever it is you are striving to play diminished full-tone on) go up a 1/2 move and abide by melodic small. Let us say I want to perform an F# diminished whole-tone scale. I commence on F#, go up a 1/2 phase to G, and now participate in G melodic slight. (Recall that melodic small is genuinely just a main scale with a b3). Right here is the F# diminished total-tone: F# G A Bb C D E F#. The Chord image for a Diminished total-tone scale is G7#9. It may well also show up as: G7alt. Another name that it goes by is the Tremendous Locrian. The true chord has a b7 #9, b9, #4 and #5. The simple chord in comparison to main is spelled: 1 3 #5 b7 #9. This is a extremely tense chord. It presents a whole lot of rigidity and a good release when used. As with the other altered dominants, we can substitute this dominant for an additional if we wish to increase stress. The chords D-7 G7 Cmaj, can be changed to D-7 G7#9 Cmaj. This can be done as lengthy as the dominant is resolving up a 4th to the I chord.