classical – 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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Free Messiaen Modes E-Book Download

Posted on July 28, 2024July 28, 2024 by Modern Music Theory and Application

Hi Guys,

I made an E Book from the collected webpages and blogs from this website that wasn’t needed in the end.

So,

Rather than delete it I have posted it here for anyone who might be interested or find it useful:

FREE DOWNLOAD:

Messiaen Modes E-Book Download

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My Top 5 20th Century Classical Books that I use

Posted on March 26, 2024April 1, 2024 by Modern Music Theory and Application

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My Top 5 20th Century Classical Books that I use for music composition

Please watch video above for detailed info:

Hi Guys,

As requested [from my polytonality video/blog], here are the main [Top 5] books that I use for 20 Century [or 21st Century] classical composing:

Before we start None of these books has guitar Tablature or anything like that they are all standard musical notation: [I would also recommend taking any of these books out of the library if interested or downloading free copies to begin with as they can be expensive].

At number 5 I have:

[English Translation] “The Technique of my musical Language” by Olivier Messiaen

This is a fantastic book that not only covers Messiaen’s unique harmonic aspects, but it also delves into his rhythmic approach/concepts.

Here is another example;

Of course he also gives many examples of his use of modes of limited transposition and their harmonic development:

Number 4

At number four I have “Twentieth Century Harmony” by Vincent Persichetti:

This is a great “All rounder” of a book that covers most bases from, polytonality to intervals to multi scales to mirror harmony and 12 tone etc.

Here we have some “Mirror Writing” examples.

Here we have an example of extended multi scales.

And finally some polytonality:

Number 3

At number three I have “The musical language of Pierre Boulez” by Jonathan Goldman:

This book gives great clarity to Boulez’s compositional intellect and deductive reasoning. Boulez’s use of augmentation and diminution and the approach of opposites becomes crystal clear.

The other side of his writing that many people don’t acknowledge is his mastery of “Structure”

Number 2

At number two I have “Anthology of Twentieth Century Music” edited by Robert.P.Morgan:

This is a book of analysis of many great works by the 20c classical composers like, Stravinsky, Bartok, Charles Ives, Britten and Schoenberg etc.

Here is an example from Bergs Lyric Suite:

This book also looks at works and the compositional process by composers like Stockhausen:

Number 1

My number one book is “Music Lessons” by Pierre Boulez:

This is not a book of technique with musical examples but a collection of Boulez’s lectures put into essay form.

This is a book that explores the art of deductive reasoning on the part of the composer and the art of creating material from the material in an organic way.

This is also a book about understanding the music/material, the process, why you are composing it, how it is happening and discovering your own deductive reasoning in the process.

It’s very difficult to explain this book in words as it is a bit like opening up your own head and looking into your own brain and seeing the correct pathways and completing them as opposed to just guessing and not completing the natural organic pathways.

This may sound a bit pretentious, but, such is the way of music. It does require a deep understanding and it does need considerations to ponder on if one wishes to compose original material with a unique language that makes the composition stand out from the crowd and avoid banality.

IN CONCLUSION

In conclusion this a brief look at the top 5 books that I use. I find it useful to have technical books, example books [from other composers works] and also a book that takes me into the depths of my thoughts and my own reasoning. For me a book is like a close friend that nudges the way, nothing is forced, but the mind is focused, as the material makes itself known.

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