Modern Music Theory Improvisation and Application

Easy Ways to Harmonise the Diminished Scale

Posted on August 21, 2026 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:

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 Harmony Download

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

Posted on August 11, 2026August 11, 2026 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

Screenshot 2026-08-07 at 18.34.23 — 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:

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

Below, is a list of techniques explained:

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:

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.

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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Mastering Slash Chords: The B/C Explained

Posted on August 1, 2026August 1, 2026 by Modern Music Theory and Application

B/C GUITAR SLASH CHORDS GUITAR LESSON AND EXAMPLES

Please watch video above for detailed info:

Hi guys,

Today, a quick look at the idea of employing slash chords.

To do this we will focus on one specific chord that of B/C.

CHORD VOICING:

In the notation/tablature below, notice the use of a B Major triad over a C bass:

John McLaughlin guitar Slash Chord B/C Example in TAB and music notation

Here, are a few more voicing’s:

John McLaughlin B/C guiatr slash chord example

SOLO LINE EXAMPLES:

This chord works well with the diminished scale. But, in order to come up with something unique we are going to take a different approach.

Because, we have the B Major chord we can exploit Pat Martino’s minor conversion technique.

In this case, we will employ the minor a Major 3rd up. This will be D#/Eb as the minor key:

IDEA 1:

Here, we will employ the simple Eb minor arpeggio:

John McLaughlin B/C slash chord improviisation example

IDEA 2:

This time, we will employ scale movement inside of the Eb minor arpeggio shape in a horizontal form.

diagram depicting guitarist John McLaughlin improvisation over Slash Chord B/C Example in music notation and guitar tablature

IDEA 3:

Let’s do the same, but, play with the notation and give it a diminished flavour:

John McLauglin guitar improv example for slash chord B/C

IDEA 4:

Now, let’s take a B Major arpeggio and ascend it by making sure our C bass note is within it.

NOTE: There are also two open string notes of D natural [minor 3rd] and the open E. I used these as they make the arpeggio flow easily when alternate picking.

How to play a John McLaughlin guitar arpeggio example for altered slash chord of B/C

IDEA 5:

We can also add some chromaticism for smooth movement.

Chromatic John McLaughlin guitar example

COMPOSITION- APPLICATION IN CADENCE

Finally, let’s see how composition can be exploited with our slash chord.

To do this, we will create a ii V7 I cadence:

diagram depicting guitarist John McLaughlin cadence and jazz composition

NOTICE: In the example above, we can see that the minor becomes diminished and the Dominant becomes 13b9 and the I chord becomes our slash chord that resolves yet hangs in the air.

PDF DOWNLOAD:

pdf Download Download

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