diminished scale / minor tonality

The melodies created by the diminished grouping of pitches could very well extend to the outer limits of the various hues within the minor tonality. Example 1.

Interesting sound eh? Can you accurately sing along with the line, matching the pitches and rhythms? How do you feel when you sing the color?

Basically placed in this section due to the quality of its minor 3rd scale degree, the diminished color differs from the other minor scales in that it rarely is called upon to function as a tonal center or create melodies, but is more of an accelerator of tonal gravity between the more consonant elements of equal temper. Potentially so essential to the modern creative musician, the theoretical properties of the symmetrical diminished color can create most of the artistic qualities not found within either the diatonic major or minor tonic components.

So why is this diminished color potentially so important? Well, depending on one's style and artistic direction of course, the diminished color provides some interesting opportunities for the creative artist. Rarely if ever in folk, pop, rock or blues music, the diminished color is usually found within jazz literature. For the emerging jazz player, understanding and using the diminished color can become an important bridge in making the transition from the blues, rock and folk worlds towards a more jazz interpretation of the music. Why? Well, mainly in the type of dominant chords used in jazz, the multiple resolving qualities of the diminished chord and the combining of the theory of these two elements, which creates a bridge towards the world of polytonality.

Aurally, there is little to no tonal stability in the diminished color. It is like a free radical in physics, always bouncing along looking for something to bond with, or in perhaps more musical context, to resolve too. So in terms of creating tension and release, the diminished sounds create an obvious artistic tension, that seeks to resolve towards the tonic stability of usually either of the major or minor tonal environments. Working thus as a catalyst, the diminished color can dramatically increase the sense of tonal gravity and accelerate the motion between the consonant elements chord progressions. This process of accelerating the tonal gravity between musical elements is sometimes referred to as forward motion and is a source of great joy and energy in the music. So, part of the importance of the diminished sounds is in it's ability to quickly generate and oftentimes sustain quite a bit of musical tension. Diminished scale / tension and release.

In American music, the diminished sound is perhaps the ultimate non diatonic passing chord of all time, helping to seamlessly morph the harmonies of a song. Occasionally used in the blues and pop, rarely if ever in rock or folk music, the diminished sound and its properties are a integral component of jazz literature, especially in the writing and performance of American jazz standards, the compositions which many emerging players enjoy while learning the jazz language. As a passing chord, the diminished color oftentimes links diatonic chords in unique ways, smoothing out the harmonic motion, while simultaneously giving the soloist or lead player yet another pitch resource to draw from as they create their ideas. So for the emerging jazz artist, potentially a solid stepping stone into the more complex aspects of the jazz language. Diminished scale / passing chords.

Theory wise, the unique structure of the diminished scale creates a situation whereby one group of pitches, configured as a diminished scale or chord, can resolve to multiple tonal centers and tonalities. This multiple resolution ability is usually associated with the dominant seventh flat nine chord ( V 7b9 ), so common in the jazz world, where the diminished color is contained within the upper structure of this chord. Diminished scale theory.

Knowledge of the diminished color and confidently using it within common musical situations, such as a passing color or in cadential motions, allows for the player to graft the theoretical properties of the diminished color onto other musical elements. I call this process a softening of the colors and is part of a looping of our tonality from inside to outside, then back in towards the diatonic. This process can open a vast melodic and harmonic palette for the creative artist, one who is willing to "stretch things a bit" theoretically, and gradually move into the world of polytonality, a place where many modern and advanced jazz players have been known to hang out. So, the diminished color can be a bridge to more complex components and combinations of the equal tempered elements. Softening the diminished color.

Each of the areas of discussion from above are examined in the following links. A discussion of the theory of the diminished scales construction is also included as a starting point for beginning learners. Choose from the following five choices to begin to explore some of the magical properties of the diminished color. Those readers new to this color should perhaps move top to bottom through the ideas contained within the following links. Essential poem concludes this page.

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