diminished scale

Couldn't understand it. The author doesn't bother to define it, just confuses by waffling about chords and then some partial definitions.
 
Couldn't understand it. The author doesn't bother to define it, just confuses by waffling about chords and then some partial definitions.

What's not to understand Kev. Perhaps you got out of bed the wrong side today. ;)Anyway I thought it was a very good description of how to make up a dim scale as long as you are familiar with the dim 7th arpeggio. Instead of the whole step half step that is easy to forget in the early stages. Also the dim chord within a dim chord was interesting and news to me.
 
Or you could just play and learn the 3 diminished scales from music notation, memorise them, put them into arpeggios, patterns, play some diminished scale studies and soon they become second nature just like any other scale :)
 
Or you could just play and learn the 3 diminished scales from music notation, memorise them, put them into arpeggios, patterns, play some diminished scale studies and soon they become second nature just like any other scale :)
I think the point of the ex. was to be able to play the dim scale without the notes, as long as you know the dim arpeggios.
 
More useful info on dominant 7th 9b - great for resolving to minor cadences!

http://www.youtube.com/watch?v=RE3wrRdZiT8
Yeah I watched that, very useful if you are talking how to use the dim scale in jazz. But I don't think the thread was aimed at the dim scale in a jazz context. You could tell by the language he uses, very simple step by step. Probably aimed at the student who needs to learn his scales for an exam.
 
I think the point of the ex. was to be able to play the dim scale without the notes, as long as you know the dim arpeggios.

I lost interest pretty quickly I must admit... personally I feel it's better to learn the scale then the arpeggios then work them into patterns to learn them inside out and upside down :cool:
 
I lost interest pretty quickly I must admit... personally I feel it's better to learn the scale then the arpeggios then work them into patterns to learn them inside out and upside down :cool:
Well I am looking at this as how a teacher could help his student for an up coming exam.
But it's interesting how we look at something and think because it is no help to us, it is of no use to anyone else. It obviously has helped the guy that started the post. He also has taken the time to share it, thinking it could help another member. Not a selfish act.
 
Well I am looking at this as how a teacher could help his student for an up coming exam.
But it's interesting how we look at something and think because it is no help to us, it is of no use to anyone else. It obviously has helped the guy that started the post. He also has taken the time to share it, thinking it could help another member. Not a selfish act.

Yes great that he has shared it if it helps people but I was wondering how likely it is that people learn an arpeggio before they learn a scale? o_O
 
Yes great that he has shared it if it helps people but I was wondering how likely it is that people learn an arpeggio before they learn a scale? o_O

Very likely. When you talk about the whole tone scale. Talking from a classical point of view.>:)
PS. Or even the diminished scale.LOL
PS. In fact I've never practiced the diminished scale,as a classical musician, but I can zoom up and down the broken dim arpeggios, as quick a a gypsy czardas. On the Clarinet.:)
 
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Very likely. When you talk about the whole tone scale. Talking from a classical point of view.>:)
PS. Or even the diminished scale.LOL
PS. In fact I've never practiced the diminished scale,as a classical musician, but I can zoom up and down the broken dim arpeggios, as quick a a gypsy czardas. On the Clarinet.:)

Ah I think I know where you are coming from now - most of the classical syllabus' (syllabi?!!) have diminished arpeggios but not the scales...... I find diminished scales just as natural as a major scale, but then I've always played them :D
 
Ah I think I know where you are coming from now - most of the classical syllabus' (syllabi?!!) have diminished arpeggios but not the scales...... I find diminished scales just as natural as a major scale, but then I've always played them :D

:clapping::banana:
 
We were too poor to know about any of these things when I was a kid.

We just played the blues, and if we wanted notes that were bluer than blue we flattened some here and there till they sounded right.

That is, when we weren't flattening the car tyres of people we didn't like.

Those that could afford them, of course.

Those that couldn't drove on the rims.
 
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I'm quite glad this has been brought up, as it made me look at my own stuff re: diminished

http://tamingthesaxophone.com/jazz-scales

and realised it needs clarifying a bit. But I think there is some useful explanation there.
 
Any body got an asprin. My brain hurts.

That first bit never made much sense to me on woodwind or written but when I saw it on a keyboard it's very obvious. Perhaps a picture of a keyboard would help get a handle on it.
 
Any body got an asprin. My brain hurts.

That first bit never made much sense to me on woodwind or written but when I saw it on a keyboard it's very obvious. Perhaps a picture of a keyboard would help get a handle on it.

Keyboard and audio is the best way to go.
 
It's a tricky one because the harmonic implications of using the diminished scale do need at least an intermediate knowledge of theory, which exceed that actual relative simplicity of the scale. ie to know what is actually happening.

My articles were originally written for undergraduates, ie expected to have at least grade 5 theory and I want now to rewrite it starting from beginner level.
 
I like when any explanations on theory start from the beginning. As you read what you already know it's like taking a run up into the unknown. If I start with stuff I don't know I get bogged down and lose the impetus to press on.
 

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