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Please watch video above for a deeper analysis

Hi Guys,

Today we have a quick look at how Cory Henry employs the diminished scale to good effect for an original and unique sound.

Firstly we will take the whole step half step diminished scale starting on the note C

From this scale there are 4 “Dominant” Chords that move in minor 3rds:

These could also be Dom7#9

These could also be Dom7[#9]b5 Chords

Each of these chords can also be a, minor 7th, minor7b5 and a diminished 7th chord/arpeggio

Example for the chord D:

D Dominant 7th

D minor 7th

D minor7b5

D diminished 7th arpeggio

All 4 of the above arpeggios/patterns apply to F Ab and B also.

Remember that these Major chords can now also become minor as in the example below:

Okay, here is the key to Cory Henry’s improvisational approach!

He employs inversion of the “Triads” of these 4 Dominant chords in Major, minor, minor7b5 and diminished 7ths.

He exploits this further by employing a “Slash” chord style harmonic approach:

Another concept with which to stretch the harmony is to join the triads together over a dominant chord: [Maj, min, min7b5, dim]

Here is a harmonisation of the diminished scale: Notice that the diminished scale is present in all 4 lines: Soprano/Alto/Tenor/Bass

Lastly, a nice little sequence:

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