Today, a look at the first example in Pat Martino’s brilliant book “Linear Expressions”.
This is a great resource for guitar improvisation as it contains many arpeggio, scale and chromatic phrases in different keys and octaves.
Please be aware though, that this book does not contain guitar TAB [Tablature].
Page example:
GUITAR ACTIVITY #1
[This line is played with alternate picking guitar technique starting on a downstroke].
The key for this line is Gm:
This hard bop sounding activity line starts with a simple fragment of a G minor scale that chromatically connects to a minor 3rd interval creating a jazzy pentatonic sound.
Next, we employ two contrasting “Tetrachords”[4 note groupings]. The first being E minor [G Major] based and the second implying Bb Major 9 [G minor].
From here, Pat exploits Major 3rd intervals with connecting chromaticism that is once again followed by some simple scale fragment.
This then brings us back to our BbMaj9 tetrachord accompanied by another piece of simple scale fragment.
Finally, we finish with a simple piece of pentatonic.
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:
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:
From here, we will now harmonise the same piece of melody with slash chords from our previous lesson/video [on harmonising 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].
In the next example, we have lots of colourful diminished 7th movement from the Gershwin classic “Someone to watch over me”.
Here, is the same but with the original Ab13 chord
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.
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
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 triadplayed 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.
