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
The other interesting point, is that the first two chords of the scale incorporate all 8 notes of the scale:
So, now let’s harmonise the scale fully with the diminished 7th chord shape ascending:
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:
To continue our investigation, we will now accentuate the scale in the Bass.
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.
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:
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.
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