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