Honshuku, Hiroaki - Jazz Theory 2.pdf

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Jazz Theory II, Draft , ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 1 -
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Diminished Scales
Diatonic Functioning Diminish Chord
# I dim 7 ................................ resolve to ............................... II - 7
b III dim 7 .............................. resolve to ............................... II - 7
# II dim 7 ............................... resolve to ............................. III - 7
# IV dim 7 .............................. resolve to ................................. V7
V dim 7 ............................... resolve to ................................. V7
# V dim 7 ............................... resolve to ............................. VI - 7
b VI dim 7 .............................. resolve to ................................. V 7
• All the diatonic functioning diminished chords must resolve by half step up or down,
except I dim 7 and V dim 7 resolve to the same root.
C
I dim 7
I Maj 7
C di m7
C Maj7
&
b
b
∫
w
w
œ w œ
b
w œ
b
∫
w
∫
œ
n
w
b 3
R
T9
T11 dim 5
(6)
dim 7 TM7
F
# I dim 7
F # di m7
II - 7
G - 9
#
w
w
A œ w œ
b
#
w
& b
A
#
œ
w œ
w
R
(2)
b 3
(4)
dim 5 T
b 13 dim 7
TM7
B b
b III dim 7
D b di m7 C # di m7
II - 7
C - 7
& b b
∫ b
w
b
∫
A
n
w
w
A
A
w
# w œ
n w
œ w œAw
#
#
w
b 13 dim 7 TM7
See Tip on Page 29.
R
(2)
b 3
(4) dim 5 T
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Jazz Theory II, Draft , ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
I dim 7 ................................ resolve to .......................... I Maj 7
œ
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G
# II dim 7
III - 7
w
B - 7
& #
w
a
w œ w
a
œ w
‹
#
#
œ
#
#
œ
w
R
(2)
b 3
(4)
dim 5 T
b 13 dim 7 TM7
C # IV dim 7
F # di m7
V 7
G 7
#
w
w
œ w œ w
b
œ
#
w
&
#
œ
w
R
(2)
b 3
T11
dim 5 T
b 13 dim 7
TM7
F
V dim 7
V 7
C di m7
C 7
& b
b
b
∫
w
A
w
œ w œ
b
w
b
œ
∫
w
∫
œ
b
w
b 3
RT9
T11 dim 5
(6)
dim 7
(7)
F
# V dim 7
C # di m7
VI - 7
& b
A #
w
w
#
œ
w
œ w œ w
œAw
#
R
(2)
b 3
(4)
dim 5 T
b 13 dim 7
TM7
B b
b VI dim 7
G b di m7 F # di m7
V 7
F 7
& b b
∫
∫ b
w
A
w
A œ
w œAw
#
∫
A
#
w
w
#
œ
w œ w
w
See Tip on Page 29.
R
(2)
b 3
(4)
dim 5 T
b 13 dim 7
TM7
Jazz Theory II, Draft , ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 3 -
A # di m7
D - 7
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Symmetric Diminished Scale
b
b
G di m7
C Maj9
W
1/2
W
w w
1/2
b
W
b
w
1/2
b
w
W
b
w
b
w w w
b
&
w
b 13 dim 7
R
T9
dim 3
T11
dim 5
T
TM7
• Symmetric Diminished Scale appears as non-diatonic functioning
diminished chord (means it does not fit any one of eight categories
described before). Because the scale is built with constant whole/
half steps, there is no tension which will create
b 9th interval. There-
fore, all the tensions are available.
• The example shown above will sound strong resolution because
of the root motion of V to I. G dim 7, however, does not create any
logical voice leading (will be discussed later). Therefore, G dim 7
is not functioning as diatonic.
Combination Dominant Scale
• If one diminished scale could built with whole and half steps, the
reversed positions as half/whole would be possible, too. This scale
is usually used for dominant. Note; there is no available tension
this time.
b
w w
b 9 )
C Maj9
R
T
b 9
T
# 9
3
T
# 11
w w w
13
b 7
w
#
b
w
n
w
#
w
&
w w
b
w
Lydian b 7
Altered
• The same scale may start on the root of the substitute dominant
chord.
D b 7 ( # 11
b 9 )
w
w
R
T b 9
# 9
3
T # 11
5
13
b 7
b
b
w w
w
b
w
b
w
&
b
w w
w w
b
b
w
n
w
Altered
Lydian
b 7
- 4 -
Jazz Theory II, Draft , ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
w
w
# 11
w
G 7 (
5
C 6
w
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Non Diatonic Functioning Diminished Chords
Additional information for the diminished chords (p.10-12).
• As we discussed thoroughly, diminished chord scales will be decided by the fact that if the dimin-
ished chord is acting as a diatonic function within the key of the moment.
The list below shows the progressions which will not create a resolution sound in the sequence
even though it may look diatonic functioning diminished chords. This list will against the list on
page 10.
b II dim 7 ........... goes to, but does not resolve to ........... I Maj7
b V dim 7 ........... goes to, but does not resolve to ........... IV Maj7
b VI dim 7 .......... goes to, but does not resolve to ........... V 7
b VII dim 7 ........ goes to, but does not resolve to ........... VI - 7
# VI dim 7 .......... goes to, but does not resolve to ........... VII - 7 ( b 5)
Those progressions are called non diatonic functioning diminished chords sequence. Therefore,
the chord scales will not be considered by the Key of the moment. The Symmetric diminished
scale will be used, instead.
• Again, if any of the diminished chords do not resolve in the Key of the moment as shown on the
page 10, the chord scale will be Symmetric diminished scale as well.
• There is an exception to the rule above.
I
# I dim 7
V on 5th
# II dim 7
I on 3rd
C # di m7
D # di m7
w
#
w
w
w
w
&
#
#
# I dim 7 did not resolve to II - 7. Instead, it resoled to V with the 5th (D) on bass. This is a
semi-diatonic functioning progression, because the ear will hear the bass move to the 2nd degree of
the diatonic scale (C Major) as where the II - 7 is supposed to be, and the actual chord on top of the
bass which is another diatonic chord.
# II dim 7 resolves to I with the 3rd on bass is also semi-
diatonic for the same reason. Therefore, the chord scale will be decided by the Key of the moment.
Note that this kind of progression is commonly heard in Gospel music.
Tip
Enharmonic respelling is necessary when the root of the diminished choed is flat.
I.e.; Respell E b dim 7 to D # dim 7 in order to find the chord scale.
Jazz Theory II, Draft , ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
- 5 -
C
C/E
G/D
The
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