LETTER A - devices using dim as passing chord.

Note - use 2nd finger for bottom note to prevent having "dead fingers". This is most
important during melodic improvisation with harmony going on underneath. Not so much in arranging where there's time to plans out
what to do. So often use 1st and 2nd fingers for bottom leaving 3 & 4 for melody.

LETTER B - the diminished scale is basically two diminished chords a whole step away from each other. Tim thinks the dim chord came
first and the scale came second - you can have two dim chords a whole step apart and they layer over each other to form the scale
(whole step-half step).

LETTER C - Also you could have a diminished chord half step below another and get the same notes in a "different inversion"
(half step-whole step).
Tim thinks of the whole step - half step as the real diminished scale. Reasons - Ted never talked about half-whole, plus it's really
just the 8th mode of a diminished scale. The half step - whole step is more a convenient scale for jazz players applying it to dominant
7th chords. The reason it's more convenient is that instead of thinking of a dim scale as being applied to a dom 7th chord a half step
above the root, or from the 3rd, 5th, or flat7, with half step-whole step you can apply it to the root..BUT....the problem you run into is
that's the ONLY note you can apply it to! WHereas with the whole step-half step scale, you can apply it to the flat9, the 3rd, the 5th
or the flat7.....anyway when talking about dim scale, we are talking about whole step-half step!

LETTER D - write dim scale, then again using enharmonic equivilents for flatted notes. The reason for this is that it's easier to
recognise some of these things we're going to look at. So..if you harmonise the dim scale in 3rds, every chord is a dim 7th. The extentions
of any one of those chords are 7, 9, 11, flat13. Any one of those notes, depending on what you call the diminished chord itself could
be any of those extentions - there are 8 dim chords, all of which could be called 4 different things, so all 4 of these extentions
could also be called any of the 4 things depending on what you call the root. The most common in popular music is the maj7 being the
melody note. It ends up being a triad with a flat9 under it, where it's got a root on top and a flat9 in the bass.

LETTER E -So if you take a Bflat triad with a doubled Bflat and raise the lower Bflat - you get Bflat dim maj7. You see this in
Someday My Prince Will Come, Body and Soul. The melody note on a dim chord is often the maj7 if it's not one of the dim chord's tones.
However if you call that dim chord by a different root name, that maj7 note would be the 11 or the 9 or the flat13.
LETTER F - This leads to something about dim scales that's very interesting.....in addition to the diminished chords that live inside
there, there are 4 maj triads 4 min triads, 4 dom 7th chords and 4 min 7th chords, which is where the enharmonic equivilants come in. SO
starting on "C" there are NO dim chords that C could be the root of. BUT - living inside a c dim scale is a Dmaj triad and a Dmin triad.
Eflat root gives us nothing but dim...F root gives us Fmaj and F min. F sharp gives all dim but Aflat (Gsharp) gives us Aflat maj and
Aflat min. We also get this on B as well. NOTE that all these chords are a min 3rd away from each other. They are diminished cycle maj
and min triads. SO - if you're ever trying to play a diminished sound you want to slightly disguise (so it doesn't sound like we've tied
Polly Purebread to the railroad tracks!) you can play around with these related, embedded triads. Note there are two trids that are
flat5 subs of each other and the other two are the same-and all of them are in a line of min3rds. So to get kind of a diminished sound
is to play d & F triads interpolated.

LETTER G. It's not quite a dim scale or argeggio, giving a dim "type" sound. So cdim (viio) resolves
to Dflat (I) as shown. So it's in the diminished realm but not a literal diminished sound which can be a little trite.
This is all diminished source material for playing around with 5 chord situations where you might use a diminished chord or diminished
sitiations where you might want to de-emphasize that sound. Could also work for 1 Dim whichis it's own unique sound, more like 4 dom.
Cdim can go to any of the 4 places - as a sub for Aflat7 to Dflat, B7 going to E, D7 going to G, F7 going to Bflat. Every dim chord
could be 5 of 4 different roots and the chord types could be maj, min or dom7. SO - we have these 8 different maj triads (could
also be maj6, dom7) and min triads (these could also becoe min6 or min7 chords). These dom7 chords are the same ones you get when
taking any dim chord and systematically lowering each note. Because each note in a dim chord could be the flat9 of a dom7, AND...
these dom7 chords are arranged in min3rds, and 2 different flat 5 subs. SO a dim chord standing by itself could be the 5 chord of 4
different roots, functioning as a dom7 chord flat9 with no root-and again, it will voice lead to and kind of maj, min, or dominant. WHen
voice leading to triads (since going from a 4note chord to 3notes) there's always one note that moves a whole step up or down to get
to the doubled note.
All of this allows for the disguising of diminished principles so they dont sound so trite. the triads work really nicely as melodic
devices as well because they are easy to grab and manipulate.

LETTER H - cool move to break up the diminished. This is the dim version of interval exchange.

SO - if you've got a diminished scale, each note of the dim chord that is built on the 2nd degree of the scale will yeild maj and min
triads, as well as the other structures mentioned above. NOTE that because min6 is an inversion of min7flat5, there's 4 min7flat5 chords
in there too! ie Dmin6 = Fmin7flat5. It starts with a dim triad and has a min7th on it. so add min7flat5 to the list of chords that live
inside of diminished.
so take situations where you might see a diminished chord and explore the harmonic possibilities of these chord types discussed above.
You can use tunes that have dim chords in them, also use ANY dom7th chords and substitute it to create dim sounds on it. Goal is to
look at the 5 of something and simultaneously see all these possibilities which are all in min3rds, and their companions as well. So
take a tiny slice and explore. Also expands ability to use fingers.
 Diminished Pt 5

A E¨7 E¨11 E¨º7 E¨7 E¨7 F‹7 F©º7 E¨7/G

b˙
E¨ F‹ F©º E¨/G
˙˙ bb ˙˙˙ n ˙ bb ˙˙
° 4 bb ˙˙ ˙˙ # ˙˙ bb ˙˙˙ b # n ˙˙˙ b ˙˙˙ ˙ b ˙˙
& 4 b ˙˙ b ˙˙ bn˙˙ ˙
bb ˙˙ n˙ # ˙ bb ˙˙ n˙ #˙˙ ˙
4 6 7 8 8 9 10 11 8 9 10 11
6 6 5 6 6 8 8 8 8
5 6 7 8 8 10 10 8 8 10 10
¢⁄ 6 6 6 6 6 8 9 10 6 8 9 10

E¨ F‹ F©º E¨/G B
° ˙ bb ˙˙ n #˙˙ b˙ j‰ ‰ j‰ j‰ j‰ œ
˙˙ j j
& bb ˙˙ n˙ #˙ j ‰ ‰ ‰ œ
œ nœ #œ J
œ b œ #œ
8 9 10 11
6 8 8 8
¢⁄ 6 8 9 10

the 8th mode of

C the dim scale
° j j‰
& œ œb œ œ#œ#œ œ œ j ‰ œj ‰nœj ‰#œ ‰ j ‰ j ‰ j ‰ œ #œ œ
œ œ b œ #œ œ œ œb œnœ#œ

¢⁄
D the reason for using "B" is that it is the 7th degree
and "B" is what we think of as the natural 7. same scale using enharmonic equivlients for flatted notes
°
& ˙ ˙ b˙ b˙ ∫ ˙ n˙ ˙ #˙ #˙
˙ b˙ ˙ ˙ #˙

¢⁄
E
b ˙˙ ˙˙
°
˙ œœœ #œœœ nnœœœœ #œœœn#nœœœœ## œœœœn#n œœœœ b ˙˙ n˙˙
& ˙ # œ
œ #n
# œœn œ # œ #œ
6 6
6 6
7 7
8 9
¢⁄
3
F D‹ D
° œ w œ w œ œ
&
œ œ bœ œ #œ #œ œ nw
w œ œ b œ œ # œ #œ œ # w
w œ œ b œ nœ #œ
#œ

¢⁄
F‹ F A¨‹
° œ bœ œ bœ
bbb w
& bnw
w
w œ #œ #œ nœ œ
nw
w
w b œ ∫ œ b œ nœ w
w
œ œ bœ

¢⁄
A¨ B‹
° bœ œ #œ bœ œ #œ #œ n œ #w
& bœ ∫œ bœ nœ œ bb w
w
w œ œ œ w
w

¢⁄ note that all these chords are a min 3rd

B away from each other-dimished cycle maj Cº
° # œ #œ œ
œ œ # œ nœ ##w
w and min triads.
b œ#œ Œ
& œ w ∑ ∑ ∑
œ œ#œ œ
3 6
4 7
¢⁄ same root movement
5 8

° G D F A¨# œB # œ
D¨Œ„Š7
as letter F
b œœœ# œœ bnw
D‹ F‹ A¨‹ B‹
b œœœ#nœœœ nbnw
D¨Œ„Š7 D‹ A¨/C D¨
œbnœ
œ nœ nœ œ
œb w œb w
bw
nœ b œ
& #œœ nœ #
n œœ nœ w œ
nœ œ bw
w nnœœœ bb œœœ b ˙˙˙
Cº maj triads Cº min triads
4 4 7 6 4 7 6
2 5 4 2 5 5 8 5 2 5 4 7 5 2 1 1
4 3 6 4 7 6 9 6 3 6 6 9 6 3 1 3
¢⁄ 5 5 8 4 5 8 4 5 3 4

H
D‹ A¨ D¨ D¨ D¨‹ D‹ B/D© D¨ CŒ„Š7 D‹7 E‹7 CŒ„Š7 C©º D‹7 D©º
° œœ n nœœœ n˙˙˙ œœ #œœnnœœœ #œœœ
& nnœœœ œbb œœœ b œb œœœ œ œ œ bb ˙˙˙ b ˙˙˙ nnnœœœ##œœœbbn˙˙˙ œœ n œ ˙ œœ # œœ œ# œ
Cº
5 6 8 5 5 6 7
2 5 1 1 1 1 1 2 4 1 4 5 7 4 3 5 5
3 1 4 3 4 4 3 2 3 4 3 5 7 9 5 5 7 7
¢⁄ 5 3 4 4 4 5 6 4 3 5 7 3 4 5 6
 4
E‹7 CŒ„Š7 C©º D‹7 D©º E‹7
° w nw œ
& w
nw œœ œ
œœ œœ # œœ œbb œœ
œ nœœœ œœ #œ œb œœ#œ w b œ œ œœ
nw
b œ œœ œ
w n œ œ# œ w # œœ œ
3
8 5 2 5 6 4 7 3 5 8
7 4 4 3 5 5 5 4 6 9 6
9 5 5 2 5 7 7 4 7 2 2 5 8 5 8
¢⁄ 7 3 3 4 5 5 6 4 7

C©º DŒ„Š7 B¨‹7 E¨7

I
° œbœ œ œœ # œ C# dim = A7 b bb ˙˙˙ ˙˙˙
& b œœ#œ
œ œœ # œ œ œ‰ ‰ Œ b ˙˙˙ ##˙˙˙ ∑ b ˙ b˙
œ
#œ nœ #˙ ˙
8 11 11 14 5 7 14 14
3 6 9 6 9 12 3 6 13 12
5 8 5 7 11 11
¢⁄ 4 5 13 6

D6 C©‹7 F©7 DŒ„Š7 E‹7 A7 DŒ„Š7 G‹7 C7 DŒ„Š7

° n#nw
w #œ n w
## ˙˙˙###œœœœ œœœ ##w
w
˙˙ #˙˙
##w
w nbb ˙˙˙ ˙˙
##w
w
&n ww ˙ w ˙˙ ˙ w
w ˙ ˙ w
w
˙ n˙

12 9 7 11 10 8 8 7 11 11 7
11 6 9 9 11 7 6 6 10 9 6
9 9 8 11 11 5 5 7 8 8 7
¢⁄ 5 7 9 9 5 7
5
5 10
8
5

J C©º D6 B¨‹7(b5) flat9 E¨7 DŒ„Š7 C©‹7(b5) F©7 DŒ„Š7 or

° œ # œ œ œ ˙˙ œ
bb œœ # œ œœ œ#n n ˙˙˙
œ n # œœ nœ# œœ b œ n˙˙˙
& ## œœœ #˙˙ # ˙ # œ #nœœ n ˙
b œ bœ #œ

2 3
5 5 3 5 7 8 5 10 5 6 7 7
3 4 6 6 7 6 6 8 6
5 4 6 5 11 6 5 7
¢⁄ 4 5
6
6 9
6
6 5

C©‹7 F©7(b9) D(„ˆˆ2) E‹7 A7 D6 G‹6 C7 DŒ„Š7 K A7(b9) C7(b9) DŒ„Š7

° nœœ #œ# nœœ œn n˙˙ œœœ#œ#œœœ œ ˙˙ œ
b œœœ#œ œœ œ#˙˙˙
œ
b# œœœ #œb œœ œn ˙˙˙
&#œ n ˙˙ œ n œ #˙˙ œ nœ ˙ n˙
#œ œ nœ
2 3 0
5 5 3 5 7 8 3 5 8 5 7 8 7
4 3 2 7 6 4 3 9 9 11 6 9 9 7
2 5 5 4 5 8 11 8 11 11
¢⁄ 4
2
5 7
5
5 5
8
12
10 5 8 10
 backwards
5 C7(b9) E7(b9) D(„ˆˆ2) A7 C7 E¨7 F©7 D6 F©7 E¨7 C7 A7
° b œœ #œ œœnœ n˙ #œ œ b œœ nœb œœœb œ # nœœœb œ n#nw
w # œœ #œ bnœœnœ nœ nœ
& œ b œœ nn ˙˙˙ œ n œ b œ # œ w
w ##œœ n b œœ b œœ #œœ nœ
œ nœ
8 5 3 5 6 8 9 9 11 10 11 9 8 6 5 0
9 11 6 2 6 7 8 9 11 9 6 7 6
11 5 2 5 8 8 8 9 8 5 8 5
¢⁄ 8
6 5
5 8
6 9
10
9 6
8
0

companions
D(„ˆˆ2) C©‹7 F©7 G‹7 C7 B¨‹7 E¨11 E‹7 A7 DŒ„Š7
° œœ #œn œœ œn b œœ nœ œ œ œœn œ nnœœ œ #œ ## w
& nnnw
w œ ##œœ bnœœ œ nœ b b œœœ œ n œ nœ w
ww #œ nœ bœ bœ n œ n œ œ nw
w

3 12 9 10 9 11 8 5 6 8 6 13 10 8 7
2 9 9 10 5 6 6 4 6 6
2 9 8 8 8 6 6 12 5 7 7
¢⁄ 5
9
9 10
8 6
6 7
5
5

approach by half steps

EŒ„Š7 C©‹7 F©9 G‹7 D¨13 C7 F©7 D¨7 E¨7 E‹7 B¨13 A7 E¨7 DŒ„Š7
# œœ # œ œ
° # #œœ # œœœ œœ œ œœ nbb œœœ nœœœ bb œœœ # œœ bnœœ b œ œœ n œ n nœœ œœ #œœ b œœ # ˙˙ ™™
& #œ #œ b œ œ œb œœn n˙˙ ™™
# œ # œ nœ b œ n œ # œ b œ b œœ n œœ œ nœ
14
12 16 12 9 9 11 11 11 11 6 9 6 13 8 8 8 8 7
11 13 9 9 10 10 9 9 6 6 7 7 6 6 6
11 14 9 8 8 9 8 8 6 5 5 6 5 5 7
¢⁄ 14
9
9 10
9 8
9
6
6 7
6 5
6 5