Diminished (Octatonic) Scale Study and Etudes

DIMINISHED (OCTATONIC) SCALE STUDY

The diminished scale is a devise of genius.  A ‘tool box’ nice to have: it’s always there to use when original ideas fade.  Internalize it!  The composer/arranger usually wants the scale when he uses the -7(b9) symbol, calling for a diminished harmony sound, and leaving the performer much freedom of expression with this wonderful scale, as long as it’s internalized.  These etudes serve that goal.

There are only 3 basic Diminished scales.  Their convenience is in the large amount of chords to which they can be applied.  Each can be used over 4 dominant 7ths and 4 diminished 7ths. Their construction consists of an interval order ascending 1/2 step-whole steps, which can be thought of in reverse order (whole step – 1/2 step): ½ - whole over dominant 7ths; whole step – 1/2 step over Diminished 7ths.

Rimsky-Korsakov is given credit for the invention and first usage of the scale; Stravinsky used it extensively in his Firebird Suite, The Rite Of Spring, and all his works of the 1910’s and 1920’s.  And then Igor Stravinsky was a favorite of Charlie Parker and Dizzy Gillespie, hence the beginning of Jazz Usage.  Bartok used the scale very frequently: Concerto for Orchestra is an excellent example to listen to.  Any solo by any of the Jazz masters after 1950 will usually contain many examples.  The best way to learn usage and ‘vib’ is by listening.

I’ve already given the 3 basic Diminished scales and the chords over which they can be played.  What follows now are several etudes, featuring often used patterns along with the chords over which they can be applied.

I hope this will help the reader to learn, apply, and internalize this so very useful, valuable scale.

Please give me feedback and comments.

Sincerely,

Errol Weiss Schlabach

Embouchure Explanation-What It Is!!!

Embouchure Epiphany

embouchure |ˌämboōˈ sh oŏr|

noun

1 Music the way in which a player applies the mouth to the mouthpiece of a brass or wind instrument.

• the mouthpiece of a flute or a similar instrument.

2 archaic the mouth of a river or valley.

ORIGIN mid 18th cent.: French, from s'emboucher ‘discharge itself by the mouth,’ from emboucher ‘put in or to the mouth,’ from em- ‘into’ + bouche ‘mouth.’

The above American Heritage definition describes embochure as ‘mouth of a river’; in the music sense, it’s the opening for the player’s ‘river of air’.  Nowhere in the definition is there mention of pressure applied with the embouchure.

In theory, a player should be able to turn the mouthpiece 360 degrees, while sustaining a held tone/note; support should be equal all around the orbicularis (smile) muscle.

Shape the embouchure by saying the French syllable ‘ouh’.  When you pronounce ‘ouh’, the contraction can be felt in the corners of the mouth’, where the support of the clarinet, saxophone, and oboe reed and MP should occur.  The teeth and jaw should not exert pressure; a vibrant tone results from the reed surface vibrating to its maximum, and top down pressure defeats this goal. 

Start the average tone with teeth resting lightly on the MP top and the lower lip resting over the lower teeth.  If you suffer a sore lower lip, or must wear a lip protector over you lower teeth, you are deadening your sound.  Start the sound with the MP floating (teeth off top and lower jaw dropped) for the most vibrant, popping sffz attack possible.

The fastest tongue speed is achieved with the lightest of pressure; I will explain double tonguing on a future blog, and how it’s not possible to do with top down pressure.

Now, say ‘ouh’ and internalize the feel of your orbicularis.

Please lease a comment on my blog.

Sincerely,

Errol Weiss Schlabach

Etude #6 - A Study In Quartal Harmony

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Sincerely,
Errol Weiss Schlabach

Etudes #4 & #5 - Cycle of 5ths

Two etudes that travel through all the major keys,

in a cycle-of-5ths relationship.

Let me know how you like the etudes; give me comments and feedback.

Sincerely,

Errol Weiss Schlabach

Playing From The Shoulder

PLAYING FROM THE SHOULDER

Since beginning to play our instruments, this command has been heard again and again and again: “Relax!;—Relax your wrists!;—Relax your fingers!;--etc., etc!”

What does that really mean and how do you do it?

You've played a passage beautifully and your fingers, wrists, forearms, and biceps felt light and effortless.  There was no thought of fingers or finger motion; only the thought of how the music should sound.  How were you able to be in this mental state of Zen?

Something must support and keep the muscles, tendons, and bones stable for that effortless movement! Actually there are two 'somethings': your two shoulders.  The command of advice we’ve heard all these years was only half stated: the whole statement should be, “Relax your fingers, wrists, and arms; play from the shoulders!”.  By feeling those strong shoulder muscles hold the arms, wrists, and hands, you can move with freedom, fast and lith.  The fingers should feel limp, dropping and bouncing on and off the tone holes, rings, and keys.  I did not say they were light on the keys!  Rather, they move through the motions as athletes, with an athletic wind up and follow through: as in a golf swing – a tennis volley – a beautiful dive off a springboard – a graceful bounce off the surface of a taut trampoline.

I hope you like the advice.  Please give me feedback and comments.

Sincerely,

Errol Weiss Schlabach

A Chromatic Warmup

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Sincerely ,

Errol Weiss Schlabach

Double tonguing on Clarinet and Saxophone: Part 1

I began double-tonguing practice 8 years ago; it has been the greatest benefit to my finger technique and strength and my tone and sound I've ever experienced.

Fingers must be strong, yet relaxed, and SPOT-ON  in order for the reed to spring back from the 

Dah-kah tongue motion, and the throat must be held open at it's most open flex!!!

After a slow warmup on your choice of intervals, play open G and tongue Dah-kah-dah-dah (a half double tongue), groups of 4.  When able, move to Ab, then to A, Bb, ETC.

The most difficult interval us B-flat to B-natural: the throat/Larynx support and flexibility is critical, hardest to strengthen, and the greatest benefit for your tone/sound!

Begin by doing a 'half double tongue' (Dah-kah-dah-dah) on the open G-groups of 4.  

Do this same on all notes to 4th line D.

Practice this until you can do groups of 4, dah-kah-dah-dah, over the B-flat-B-natural break with ease.

Now you are ready to read my 'Double tonguing on Clarinet and Saxophone Part 2'.

Please leave a comment on how you like my thoughts and words!!!

Sincerely,

Errol Weiss Schlabach

(genomemeuzik1942.blogspot.com)

Etude #2 - Diatonic Warmup

This is another finger warmup, for beginning a practice, so play it slow, from the shoulders, and keep elbows, forearms, wrists and fingers tension free: feel effortless!

To change the key, just imagine (or write in) another of the 12 key signatures, and use the same printed notes (music) for that new key!

Thank you, I hope you enjoy, and please, please write a comment at the end, as I would like you to do on all my blogs.

Sincerely,

Errol Weiss Schlabach

(genomemeuzik1942.blogspot.com)

Etude #1 - Lydian Hexatonic Study

Here is an Etude I've written, that should be played immediately after the initial larynx and slow finger warmups.  I hope you enjoy it; please let me know your comments and thoughts.  Sincerely, Errol

I hope you like this.

Please leave a comment.

Sincerely,

Errol Weiss Schlabach