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# symmetric studies: diminished

chapter four

Patterns

On the CD the pattern will be played, there will be a pause, 4 beats, then played in
context except on Patterns 14-18 . You might notice that I ve used some of these
patterns in the exercises and etudes in the first 3 chapters.
Track 39
Pattern 1:

Pattern No. 1

Edim7

# b[C 7( b9)]
# #

#
& 44 J
11

T
A
B

12

In Context:

E bMAJ 7

b b
&

10

11

# b
#
#
9

Edim7

10

11

10

#.

F #dim7

Fmi7

E bMAJ 7

b n b b

# b b b
b n #

bw
T
A
B

70

10 7

8 11

10 11

12 8

10 11

7 8

8
9

10

10 9

10

8 7

9 10 6

9 5

Track 40
Pattern 2: Edim7

Pattern No. 2

C7(b9)

b b b b n
b b b n b b b
4
b n b b b n
& 4
8

T
A
B

11

11 9

10 8

11

11 9

10 8

11 9

11

10 8

11 7

10

10 8

9 7

10 6

U
w

n
b b b b n
&
T
A
B

b n n
b b b
3

In Context:
C7

F7

. b
J J
& J

. b n
J

T
A
B

11

F #dim7

10 10

10

C7

10

Dmi7

10

10

A7(b9)

b b n

b n

& b b b # n

C7(b9)

T
A
B

b b b b b

J

F #dim7

F7

C7

10

C7

G7(b9)

&
T
A
B

n
w

71

## symmetric studies: diminished

Track 41
Pattern 3:

Pattern No. 3

Edim7

C7(b9)

b b
4
& 4
8

T
A
B

11 10 11 10

# # #
7

b b

11

10 11 10

10

& # #
#
T
A
B

10

In Context:
F7

w
3

B b7 Bdim7

F7

F7(b9)

b . b b
b b b

b
J
&
T
A
B

5
5

B b7

Bdim7

F7

& b b

n b b b n b n b n b b n b

T
A
B

D7(b9)

T
A
B

Gmi7

& b # n

72

C7(b9)
F7
.

# w
J

Track 42
Pattern 4:

Pattern No. 4

Edim7

C7(b9)
3

b b

4
b
& 4 b j b b b
3
3
3
3

T
A
B

b b

&
T
A
B

12 9

10

10

10

11

11

11

11

11

11

b b
U
b b b
bw
9

11 8

In Context:

Dmi7

11 8

11 8

10

C #dim7

Dmi7

11 8

10 7

C #dim7

Cmi7

3
b
j

. b b
&
3

T
A
B

7 8

Dmi7

7 8

8 5 8

C #dim7

Dmi7

. J

&

T
A
B

8 5 8

8 7

C #dim7

Cmi7

b
U
b b b b

bw
6

8 5

8 5

5
8

8 5

8 5

73

Track 43

Pattern 5: Ddim7

4
& 4
T
A
B

Pattern No. 5

B b7(b9)

b A

A
b

7
5

9
6

13 10

10 13
7

10

13

13

10 7

& b
T
A
B

4
8

bw

In Context:

B b7

E b7

Edim7

B b7

B b7(b9)

. #
b
J

& b
3

T
A
B

E b7

10

7
10

B b7

Edim7

b
b n b
& b

6
9

G7(b9)

b . b

J

b b

T
A
B

4
5

8
5

9
6

10

10

7
7

b B. 7
F7(b9)
B b7
b

b b.
b
b b
U
b . . J b
J

b
w

& . J
b b
Cmi7

T
A
B
74

8
10

F7(b9)

8 11

10
10

14
11 14

13

11 15

13

10

7
10 7

5
9

7
8

Track 44

Pattern No. 6

C #dim7 C7(b9)
Pattern 6:

b b b b

b b b b #

T
A
B

Eb

Gb
6

Gb

# b b b n E b b

b n

13

13 14

12

10 11

In Context:

C7

7 8

11

8
10 11

F7

12

11

11

Eb

14

14

b b b n b n
w

8 11

C7

11

Gb

&
T
A
B

4
& 4

Gb

Eb

9 10

Gb

Eb

C7(b9)

7 10

b . b j
b #
b

& b

j b
b

.
3
C
3

T
A
B

8 5 8

F7

8 5 8 5

F #dim7
B

Ab

5
8

C7

8 5

6
9

8 7

A7(b9)

3
3
#

j
b

b n # b # n
& J

T
A
B

G7(b9)

Dmi7

Bb

Db

6
7

C7

j b b b # n
.
&
3
T
A
B

U
w

7
9

10
12

12

13

75

## symmetric studies: diminished

Another pattern using 4 triads. These patterns will work well on the last two bars
of Joe Henderson s song Isotope. Pattern 7 is easiest to play when moving vertically
up the fretboard.
Track 45

Pattern No. 7

Pattern 7: C #dim7

C7(b9)

b b w
b

4
& 4 b b b b

T
A
B

11 10 7

10

12 11

13

b n # b b b n
U
b
b n

&
b b n
w
T
A
B

11 12

13

10

9
11

10

11

8 11

8
10

5
8

In Context:

C7

&
T
A
B

b b b

3
b b
b

3
b n b

b b b n

D7

b b b n b b
b b b
b
& b
T
A
B

5
7

E7

b U
b n b b b n

w
b
b
b

b

&

b
76

T
A
B

7
9

6 9

6
8

7 9

6
4

6 5

5
2

9 8
5

## symmetric studies: diminished

This is a really beautiful sound. You might want to listen to Kurt Rosenwinkel on
East Coast Love Affair at 7:32 on the great CD East Coast Love Affair on Fresh
Sound/New Talent records. He does something very similar.
Track 46 8 Pattern No. 8
C #dim7 C7(b9)
Pattern 8:
3

3
4

& 4
b b

T
A
B

10

b
b

12 11
14

11

11 10

In Context:
F7

b b

5 7
8

B b7

b
&
T
A
B

8 6 8
8 7

10

Bdim7

6
6

10

b b
5

11

5
8

F7(b9)

10

b b

11

10

10

10

10

10

11

n
7

5
6

3
n
b
#

13

D7(b9)

b
8

F7

n b . b n b b b
b
J

b.
J

F7

b
& b
7

14

10

T
A
B

14

B b7

11

14

14

3
b

&
T
A
B

11

11

10

b b b n
b
7

b3 b b .
b
J

10

4
4

Gmi7

C7(b9)
F7
C7(b9)
F7
b

.
b b b
# J b
U

b
w
&

T
A
B

7 8

5 6

5
5

8
8

11

11 9

10 11 10 8

7
7

8
9

11 10 8

77

## symmetric studies: diminished

Check out John Scofield on Whip the Mule @ 1:36. Scofield has played this pattern
on other recordings as well but Whip the Mule is from Hand Jive which should be in
everyone s music collection.
Track 47

Pattern 9:

4
& 4
T
A
B

Pattern No. 9

C #dim7

C7(b9)

b b b b b

b
b b b n

b
b b b n
3

4
6

5
7

10

11

11

11 8

11

10 7

b b U

b
b b b b n

&
b b
b b b b n

T
A
B

In Context:
E bMAJ 7

7 10

8 11

11

Fmi7
F dim7
. n Edim7
n

bb b
J n # # b n n #
&

T
A
B

bb
& b
6

10

A bMAJ 7

E bMAJ7 .

T
A
B

78

10

. . J
J

11

10

10 8

11

#. n
# n
J

10

B b7(b9)

8 10

11

E bMAJ 7

C7(b9)

U
bb b n n n w

& b
T
A
B

Gmi7(b5)

Fmi7

n n #
#
11

11

10

11

11

## symmetric studies: diminished

Track 48

Pattern 10:

Pattern No. 10

C #dim7 C7(b9)

3
b
3

3
b
4
b
& 4 3 b b b b n b b
b

T
A
B

1
3

8 11

11

3 b 3 b 3
3
3
U

b b 3 3 b 3
b

&

b b b b w
T
A
B

8 11 10

Variation:

A13sus(b9)

b b b b

b b n
b b

&

b b b n
b

T
A
B

b b
&
T
A
B

8 11

11 8

11

11 8

10

b b

b b b
b

b b b b n b
5

b b b b b b b n

b
b n b b b
b

&
T
A
B

6 5

10 8

11 9 8

11 10

9 11 5

6 8

5
8

& b b n b n b
T
A
B

b b b
3

w
79

## symmetric studies: diminished

Track 49

Pattern No. 11

#
Pattern 11: C dim7 C7(b9)

4
& 4

b
b b bb n

T
A
B

2 5

4 6

4 2

5 7

4 7

8 10

7 10

9 11 14 12

b b b

b b n b b b

b b n b
b
n

&
T
A
B

b b n
b

b
b b n b n
b

b b

9 11 8

13

In Context:

11

8 10

11 8

B b7

F7

10 7

8 5

5 7

F7

b
b .
4

8 5

F7(b9)

b b b
j . . j

b J J n J J
&
b
T
A
B

B b7

& j b . b

Bdim7

F7

b b

D7(b9)

b b b
b

T
A
B

5
8

Gmi7

C7(b9)

F7

10

C7(b9)

F7

j . b b b n b b . b b
b b n
b

&
b
J
T
A
B
80

4 7

U
w

## symmetric studies: diminished

Track 50

Pattern No. 12

#
Pattern 12: C dim7 C7(b9)

b b b

4
b b

& 4

T
A
B

4 7

8 7

6 9

5 8

8 11

b b b b n b
U
b
b n b b b
&
b n b b b n
T
A
B

9 12 8

10

11

11

10

In Context:
B b7

10

E b7

7 8

B b7

B b7(b9)

b b
b b j

&

b b b
J

T
A
B

E b7

b b

Cmi7

B b7

Edim7

b b .
b
&
J
T
A
B

G7(b9)

j
b b b b b

B b7

F7(b9)

B b7

F7(b9)

b b b . J b b n b b U
b
w
&
T
A
B

8 5 8

6 8

6 7

7 10

7 8

10

11

81

## symmetric studies: diminished

Track 51

Pattern No. 13

#
Pattern 13: C dim7 C7(b9)

b b n b b b

b
b
b b n
4
& 4 b b n b b b n b b

T
A
B

10

11

11

12

U
b b b

b b b b b
&
b b b b b
b
T
A
B

13 11

12

10

11

In Context:

8
9

11

10

Ami7(b5) Dmi7(b5)

Cmi7

10

G7(b9)

10

10

Dmi7(b5)

G7(b9)

b b b

Cmi7Ami7(b5)

. J

& b b J . b b n
T
A
B

10

12

13

11

12

10

## Cmi7 Ami7(b5) Dmi7(b5) G7(b9)

Ami7(b5) Dmi7(b5)
G7(b9)
Cmi7
Ami7(b5)
.

b
b b b n b
b . . j
J

&
J
Cmi7

T
A
B

8 10 7

9 5

10

Cmi7
Dmi7(b5) G7(b9)

Cmi7

Ami7(b5) Dmi7(b5)

G7(b9)

U
w
b

3
3

. b b n b
& b b n
J
3
3
3

T
A
B
82

10

10

10 7

11

10

10

## symmetric studies: diminished

Track 52

Pattern 14

Pattern No s. 14-16

C #dim7

C7(b9)

b n b b b
b

b n b b b b

& 44
b b b n
T
A
B

b b
&
T
A
B

11 10

8 6

10

8 7

9 8

7 5

65

8 7

8 5

4 7

b b n

b b n
& b b n b b
b
4

11

10

b bbnb b b

b b b
b n b b b b

Pattern 15

T
A
B

8
7

10
8

10

7 4 3

6 5

b n
b b b

7 6

11

11
9

11

11

12
12

b b b b

b b b b b b b
&

b b b w
T
A
B

12
12

11

11 9
9

11
11

10 8
8

9
10

Pattern 16

6
7

8
9

3
3

6
6

10

9
9

8
7

6
6

b
b b

b b

& b b b b

T
A
B

7 5

12

8 11

11 14

11

b
U
b b n b n

b
b b
&
# b b n A b
T
A
B

11

11

12

14

11

8
7

6
6

5 2

83

Track 53

C #dim7

Pattern 17

C7(b9)

b n b

4
b b b
b
b

& 4

b b b

T
A
B

4 2

2 0

9 0

b b b

b b n b b n
b

&
b b b b
T
A
B

11

12

9
9

Pattern 18

5
5

6
7

3
6

b b n b

b b n

b
& b # b #
T
A
B

8 10

11

10

11

12

3
3
b n b b n b b

3
b

& 3
b n b n b
b w
3

3
3

T
A
B

Pattern 18

11

Bill Evans:

8
7

5
5

from
Explorations

b
b

b n

b
& b b n b n
T
A
B

b n

7
4

3
3

10

11
8

3
5

b n

b
b
3
14
11

12

b
& b

b n

b
b n

b n
b
b
84

T
A
B

8
5

10
7

7
4

8
6

5
3

7
5

4
2

11

## Wes Montgomery was fond of using diminished chords as approaches to other

chords or just up or down the diminished scale specifically Missile Blues @ 4:56 or any
of his improvised chordal solos . These diminished chords work well as an approach to
the turnaround in a 12 bar blues.
Track 54

Diminished chords

2fr.

C7

C7

4
& 4 b
T
A
B

G7

3fr.

T
A
B

5
3
5
4

6fr.

5fr.

& #
#

G7

#
n b

# n #

7
5
7
6

8
6
8
7

4fr.

Ami11

4
2
4
3

11fr.

8fr.

n #
#

#
#

5
4
5
4

6
5
6
5

8
7
8
7

9
8
9
8

12
11
12
11

D7

7fr.

3fr.

6fr.

2fr.

5fr.

2fr.

1324

3fr.

Ami7

&

#
#

10
8
9
7

7
5
5
5

8
7
8
7

T
A
B

7fr.

5fr.

7fr.
5fr.

j
b

#
n
4
3
4
3

n
#
7
6
7
6

b
b b

n
n

5
5
5
5

3
2
3
2

3
2
3
2

6
5
6
5

3
3
4
3

G7

b
&
T
A
B

85

&

10
7
8
5
9
5
Montgomery-style
7
5

8
7
8
pattern
7

Track 55

G7
8

Chords

7fr.

T
A
B

6
5
6
5

86

7
6
7
6

9
7
9
8

9
8
9
8

n
b
n

10
9
10
9

8
8
8
7

Turnaround

Dmi7

D b7(#11)

G7

10fr.

7fr.

F7

6
4
6
5

on the
of
Fried Pies around 5:48.

9fr.

b b n
6 5b 3

b b 5

6
5
6
5

Track 56

8fr.

10fr.

7fr.

b b

12
10
10
10

9
8
9
8

10
10
10
10

8
7
8
7

7
6
7
6

9
7
9
8

C6

4fr.

7fr.

6fr.

4
& 4
T
A
B

8fr.

4fr.

T
.

4 A
& b 4 b ...B

5
7
5
6
5
7
sIV 6diminished
5

6fr.

3Bdim7
6

## symmetric studies: diminished

b
b
&

B b7

4
3
4
work
3

T
This chordal
would
A
blues. You might
B want to listen to Wes Montgomery on

b
6
4
6
4

ww
ww

3
1
3
2

1
2
2
3

ww
ww
8
8
8
7

3
2
a 32

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