Harmonising Melodies with Diminished Chords: [Chord Melody]

Posted on by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Following on from our previous lesson, we will now exploit the diminished 7th chord from our harmonised diminished scale examples.

To recap, here, is our basic shape:

PART 1 Harmonising a Simple Melody

To begin with, let’s take a very basic fragment of melody:

Now, we will simply harmonise this with our diminished 7th shape:

Guitar tab displaying example of how harmonising melodies with Diminished Chords is so easy on guitar. Brilliant lessonthta's easy to understand

Notice, that straight away we have a sophisticated harmonic Palate and accompanying chord melody.

Let’s now stretch this further and broaden out on our diminished 7th chord shape by adding a couple of extra melodic notes:

Lesson in harmonising melodies with Diminished Chords for easy on guitar and all musical instruments

From here, we will now harmonise the same piece of melody with slash chords from our previous lesson/video [on harmonising the diminished scale]:

Guitar tablature displaying how to harmonise melody with slash chords from the diminished scale.

Lastly, here are two examples with diminished 7th chords from the 5th and 6th strings. Both harmonising perfect cadences.

From 5th string

From 6th string

Examples from Standards:

Below, we have an example from “Stella” where we have both the minor7b5 and the diminished 7th [also Dominant7th].

Music notation and guitar tab displaying example how harmonising melodies with Diminished Chords on jazz standards is easy.

In the next example, we have lots of colourful diminished 7th movement from the Gershwin classic “Someone to watch over me”.

Guitar tab displaying jazz standard example how harmonising melodies with Diminished Chords is so easy on guitar and all musical instruments

Here, is the same but with the original Ab13 chord

Guitar tab displaying jazz standard example how harmonising melodies with Diminished Chords is so easy on guitar and all musical instruments

Ascending Melody Harmonisation

To conclude, we will harmonise a simple ascending melody and add passing diminished 7th chords and vary it:

Simple Melody:

BASIC MELODY/HARMONISATION:

Variation-Filled out:

Variation 2:

IN CONCLUSION

This was just a quick look at how to exploit melodies with the diminished 7th shape from our lesson on harmonising the diminished scale.

What you will notice, is how easily we can apply them as passing chords and colourful harmonic decorations to create really sophisticated accompaniments and chord melody functions.

For a really in depth take on this, it is a good idea to take a look at some Barry Harris material as this contains a huge wealth of possibilities. Also, for guitarists, Pat Martino’s approach to chords.

PDF DOWNLOAD

Dim chord 2Download

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Easy Ways to Harmonise the Diminished Scale

Posted on by Modern Music Theory and Application
How to Easily Harmonise the Diminished Scale Lesson

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at an easy way to harmonise the diminished scale.

PART 1: The Diminished 7th Chord

To begin our study, let’s take the diminished scale and play it on the 1st [E] string of the guitar.

Notice, the half steps and whole steps of the scale.

This scale can now be harmonised with diminished seventh chords.

What’s equally amazing is that with this form we have a separate diminished scale starting on each note of the chord itself.

This in turn gives us four part harmony.

Soprano, Alto, Tenor, Bass. or S.A.T.B

image displaying how to easily harmonise the diminished scale with 4 part harmony like composer Bach.

The other interesting point, is that the first two chords of the scale incorporate all 8 notes of the scale:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with diminished 7th chords.

So, now let’s harmonise the scale fully with the diminished 7th chord shape ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony.

The key from here, is to accentuate an inner or outer voice.

In this case we will accentuate the Soprano [or top line] scale ascending:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony all playing the scale

To continue our investigation, we will now accentuate the scale in the Bass.

image of music notation and guitar tab displaying how to easily harmonise the diminished scale

Now, as we look at the chord and scale within the S. A. T. B. we can see the full realm at our fingertips.

The ascending scale of each voice is in full view:

image of music notation and guitar tab displaying how to easily harmonise the diminished scale with 4 part harmony all playing the scale

PART 2: SLASH CHORDS

Another useful device for harmonising the diminished scale is to employ the use of slash chords:

These, will be moving in minor 3rds with the scale on the top.

Below, we have a triad of F Major played over a Gb bass. This is then followed by a D Major triad played over an Eb Bass.

These chords, are now sequenced: Moving up in minor thirds whilst carrying the scale on top.

Music notation and guitar tablature showing how to harmonise the diminished scale with slash chords easily.

In the next example, we will use another diminished favourite:

The minor7b5: Or Half diminished:

We, will follow this with our B/C slash chord form our lesson a little while back:

Now, let’s view the full chord scale:

Be amazed!…..Yes, this works out in all 4 parts once again:

Music notation and guitar tab showing how to harmonise the diminished scale with slash chords

PART: minor 3rd Chord Movement

To complete this, here are the two most common chord movements in minor 3rds for our scale.

This is NOT harmonised, but still essential to look at as it really displays the minor 3rd movement in both major and minor tonality within this scale.

Minor 7ths moving in minor 3rds:

Dominant 7ths with sharpened 9ths moving up in minor 3rds:

CONCLUSION:

This was just a quick look at how to harmonise the diminished scale.

These concepts are quite basic in many regards but contain a wealth of power for both on the spot Re-harmonisation and 4 part voicing for composition.

Traditional harmony and as we can see in this blog/lesson contemporary harmony both work well for the task.

FREE PDF DOWNLOAD:

Dim HarmonyDownload

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Jared E Davis: “Atonal Improvisation and Jazz” Techniques Explained

Posted on by Modern Music Theory and Application
Jared E Davis Atonal Improvisation and Jazz music examples and analysis

Please watch video above for detailed info:

Hi Guys,

Today, a quick look at “Atonal improvisation and jazz” book by Jared E Davis.

Atonal Jazz analysis with examples from webpage
Jared E Davis Atonal Improvisation and Jazz

Please note: This Blog won’t contain a Pdf download due to any copyright infringement.

PART 1:

Jared’s book, is similar in some ways to John ‘O’ Gallagher’s book 12 tone improvisation

12 tone improvisation book John ‘O’ Gallagher

But, also differs due to being atonal [interval pairs] and not 12 tone.

BASIC PROCEDURE:

This concept works with the 12 chromatic notes.

So, for example if we were to start on the note C it would be,

C=O C#=1 D=2 D#/Eb=3 E=4 F=5 etc.

Resulting in a minor 3rd =3 or a Major 7th = 11 or Unison = 0 etc.

We are just counting the minor 2nds/semitones as in the chart below:

CHART:

Jared E Davis Atonal Improvisation and Jazz

What to be aware of:

If we were to have singular intervals like 11111 etc, we would end up with a chromatic scale:

Jared E Davis Atonal Improvisation and Jazz

Or, for example, 3333 we would end up with Diminished 7ths:

Jared E Davis Atonal Improvisation and Jazz

Below, is a list of techniques explained:

Jared E Davis Atonal Improvisation and Jazz

In this blog in order to avoid any copyright infringements I am going to look at interval pairs in the main.

Etude 1-6

Exercise in “Interval Pairs”

In order to get really fluid with this it’s a great idea to write an etude.

But, before we can do this we need to learn/practice an etude already prepared.

So, in this case I am going to take one from the book which consists of the interval pair 1-6

In this example we will master 1= minor 2nd and 6= Tritone

EXAMPLE:

Music notation depicting Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

From the example above we can see our interval pair of 1-6 in action.

Notice also, where there =1 it can be inverted to/create octave displacement.

Example of Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

Below, is the full etude that I have starting on a down stroke for strict alternate picking.

Full Etude:

An example of tonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.
Example of Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.
Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.
Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.

TRI-CHORDS

We can also build some amazing chords from atonal techniques.

I am going to look at a couple of Tri-Chords. [Although, we can create, tetrachords and pentachords etc].

EXAMPLE 1: “016“

Below we have the “Retrograde” of the above: “056”

ii V7 I Example

Let’s now apply this to a ii V7 I cadence:

Again, sticking to our minor 2nd and tritone 1-6 interval pairs from our Etude:

ii V7 I Atonal Improvisation and jazz book by Jared E Davis. Musical examples and demos with music theory analysis. Complete lesson for atonal improvisational music techniques.
Jared E Davis Atonal Improvisation and Jazz ii V7 I 1-6 Cadence Example

2 SCHOENBERG EXAMPLES

Lastly, here is a couple of real life examples by the great composer Arnold Schoenberg.

Interval Pair 1-5 [Perfect 4th and minor 2nd]:

Finally, we have interval pairs 3-4

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