Diminished Scale

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In Jazz, diminished scales are used for adding tension to dominant chords. As with all scales, you must
analyze the tones against the chord.

The diminished scale and chord are based on the scale starting with a whole step. In dominant/diminished
harmony, we start on the leading tone, that is with a half step. The tones will yield a dominant 7th chord.
There will also be certain tension tones.

For C7, play:
C Db D# E F# G A Bb C = Root b9 #9 3d #4 5 13 b7

C7/b9(no root) chord= Db diminished7 chord

C dom/dim scale = Db diminished scale.

You can see that C E G Bb make a C7 chord. If you raise the root one half step you have a Db diminished
7 chord. ( Db Fb Abb Cbb) Yes in Db, 1 m3 b5 bb7 will have notes with double flats.
Anyway, this is why a diminished chord is equal to a dominant7 b9/no root, down a half step.

As the diminished scale is symmetrical, the same constructions will repeat in m3rds. So this scale will work
for Eb7, Gb7, and A7 (Bbb7) with each yielding the same exact intervals and structures. As V7 chords
classically resolve to I chords, this scale can be used to set up for resolving to: FMaj7, AbMaj7, BMaj7 and
DMaj7 with equal ease.

So, the most common way to use the diminished scale in Jazz is for any dominant 7th chord go up one half
step and play diminished. This is the dom/dim use of the scale. Technically diminished scales must start
with a whole step, and also contain a doubly flatted 7th (looks like a 6th) and a leading tone which is left out
of the diminished chord. It is only in Jazz usage that we use the one starting on a half step, or rather, it is
only when substituting for a dominant chord that we do so. This is because that is the one that produces a
7th chord on the first note. Interestingly, this is about the best use for the scale. Go wonder!

In Jazz I have seen the diminished scale used over Maj7th chords, use the true diminished so you have the
leading tone. You must play most of the notes pretty fast, more as passing tones, or you may get unwanted
dissonance. I think there are better choices for use over m7th chords. Matter of taste some might say, but I
need to know which intervals I am introducing to that or any chord I use it over.

Here's a real mind blower. Moving intervals IN intervals. If you analyze all possible intervals from the first
two notes (these intervals will simply repeat themselves as you move to the next two and so on...), you will
see that both notes yield a minor 3rd and a Tri-tone (b5) and a Maj6th. But some intervals only happen on
every other note. So for instance, you can take the interval of a 4th starting on the Db of the above
mentioned scale, and move up a minor 3rd and play a 4th off that note and so on... Or play a Maj 3d on C,
move that interval in m3ds. You could take a C triad and move up a tri-tone to a Gb triad, to a C triad in the
next octave and so on. You can create some incredible patterns thinking in geometric shapes using various
intervals and moving them in linear ways. Sounds outrageously cool!

Remember: EVERYTHING diminished repeats absolutely in m3rds. No exceptions.

whole-half diminished = Cdim7, Cdim, C, C7 (these are all the same)

half-diminished = C , Cm7b5, C-7b5 (these are all the same)

half-whole diminished= Alt Dominant chords (this confuses the helll outta me, use site 1 and 2 below),
dominant chords (chords w/ a minor7, so chords like C7 and Cm7 should fit. double check though), C, C