JAZZ CURRICULUM

THE DIMINISHED WORKBOOK =

_MB21294BCD

MEL BAY PUBLICATIONS, INC.

Y BRUCE SAUNDERS) “roms”

#4 INDUSTRIAL DRIVE

el Bay Guitar University Series

 JAZZ CURRICULUM

THE DIMINISHED WORKBOOK

BY BRUCE SAUNDERS
Mel Bay Guitar University Series

CD Contents
Track Track Track
[1] Tuning note [0:21] Exercise 10 [0:40] Pattern No. 3 [0:44]
Typical Chord Progression [0:18] Exercise 11 [0:40] Pattern No. 4 [0:44]
Relating diminished to dominant [0:15] . . .7 Exercise 12 [0:40] Pattern No. 5 [0:48]
Exercise | [0:43] Exercise 12a [0:28] Pattern No. 6 [0:58]

Exercise 2 [0:49] Exercise 12b [0:25] Pattern No. 7 [0:51]

[¢] Exercise 3 [0:57] Exercise 13 [0:47] Pattern No. 8 [0:52]
Exercise 4 [0:57] Exercise 14 [1:59] Pattern No. 9 [0:50]
Exercise 5 [0:47] Exercise 15 [1:13] Pattern No. 10 [0:58]
[9]Example 8 [0:20] Etude 4 [1:57] Pattern No. 11 [1:00]
Example 9 [0:20] Example 11 [0:19] 50 | Pattern No. 12 [0:58]
[1] Exercise 6A [2:16] Example 12 [0:38] Pattern No. 13 [0:55]
Exercise 6B [2:02] Example 15 [0:39] Pattern No. 14-16 [1:04]
FET CISC eG [eco iter eodt nee c sciesteiote calentewans 20 Etude 5 [1:08] Pattern No. 17 & 18 [0:44]

Dy mnie cana
ORS 1)Ba flles OA|ee a 24 59 Pentatonic Scales [0:11] Diminished Chords [0:24]

Exercise 8 [3:33] Exercise 16 [1:18] Ghotds (0:13) .a eee Serre 91

Exercise 9 [2:48] ...... Aero cir waiae 34 Exercise 17 [1:34] Turnaround [0:14]

Etude 1 [1:59] Exercise 18 [1:12] What Is This Thing Called Love? [3:02] .

Etude 2 [2:12] Etude 6 [2:10] Blues in F [1:58]

Etude 3 [2:08] Pattern No. 1 [0:30] Blnes 10 Bp [2:27 sce eae eee 93
Example 10 [0:13] Pattern No. 2 [0:49] ANITA ILEENES BHOPAL cus ocsnceduvocc 94

ace 42>) Gia 8) 0

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motivation

The diminished scale and resulting harmony has a relentless, kinetic sound. In writing this book
I found it difficult to use diminished exclusively in many of the exercises and etudes because it
has such an edgy sound. A little goes a long way.

Initially, I needed some materials to use in my improvisation classes and this book grew out of
the exercises I had put together for those classes. There is probably a lot more information in this
book than is necessary for you to start using diminished chords and scales. You might just pick
a chapter at random and start working through the exercises and etudes and decide whether you
like the sound or not. Chapter 4, Patterns and Cliches, is probably going to be the chapter that is
the most popular but the purpose of this book is to make diminished a sound that becomes a
(small) part of your playing and not just a series of random patterns played at high speed. As
always, this book is intended to be only a starting point for your individual studies of any
particular concept or sound.

acknowledgements

Once again, thanks to all my friends and colleagues at Berklee College of Music, especially to
Rick Peckham and Larry Baione, to my students who continue to amaze me with their brilliance,
energy and style and especially to the incredible musicians with whom I’m privileged to play and
record.

Thanks again to Steve Salerno for his attention to detail, great eye and inspired ideas (just like
his music). Thanks to Steve Herberman who caught a lot of mistakes and even offered to bring
the manuscript on his vacation! I’m glad I talked you out of that foolishness but truly appreciate
the offer. A special thanks to Peter Watrous for your enthusiasm, feedback and encouragement.

Finally, a heartfelt thanks to John Buscarino for the incredible instrument which arrived about
the same time that I finished the recording the CD for this book. I can’t wait to use it on the next
recording, the next gig and the next book. Thanks, John.
 The Diminished Workbook: Contents

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Etude 6: “Caravan” changes and }9 Pentatonic scales .................005. jee

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ABOUT THE AUTHOR/SELECTED DISCOGRAPHY ...............

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 Chapter One - Function
In brief, diminished chords fulfill a dominant function and are often used as a secondary
dominant chord. One way to identify the function of a diminished chord is to consider it a 7(59)
chord. Look at the following familiar chord progression:

Example 1

CMAJ? CHdim’ Dimi’ D#dim/ Emi’

The diminished chords are functioning as 7(b9) chords.

C#dim7 = A7(59) = V7(b9) of Dmi7. The Dédim7 (or B7(9) in
the second measure above could therefore be viewed as the
A7b9) V7(569) of Emi7.

CH 5 FYI, the chord voicings above are called “drop-2” chord

L9 voicings. A drop-2 is merely an arrangement of 4 notes, most
le sad often the root, third, fifth and seventh of a chord. With drop-
2’s the 2nd note (closest chord tone) below the melody is
dropped an octave. Below, the closest note to the E melody note in the A7 would be C# which is
then made the lowest note in the voicing after it is dropped one octave lower.

Example 2
AZ A7b9)
Substitute a )9 for the root

é 2 3

A7 first inversion drop-2 A7(b9) = C#,G, Bb or E diminished chord

or A7(b9), C7(b9), E57(b9) or FH7(b9)

One way of adding tensions (9, 11, 13) to drop-2 chords is to substit
ute a 9th for the root (or a 13th
for the Sth or both). In Example 2 above, I’ve substituted a 9th for the root
and the resulting chord
is an A7(59)/C# which is exactly the same voicing as a root position C#dim7.
One interesting aspect of diminished chords and scales is their symmetric nature. By symmetric
I mean that the notes in the diminished chord are all a minor third interval apart. This means that
each note in the chord can be the tonic.

Example 3
Cdim?
R b3rd b5th bb7th

Th 7 B ‘ a ;
A 1 ee ee ee Fi
ee ee (een
(The bb7 (Bbb) is Af enharmonically)
et ae Se

Par Grdmeninonetd. imninec ord

Could also be Eb, Gb, or Adim7 chord.

It’s easy to see this symmetric quality on the guitar fretboard above because the notes are all
played on one string. However, playing on one string is not always an option.

Look at the chords and scales below:

Example 4
C Whole-Half Diminished Scale
Whole Half Whole Half Whole Half Whole

on one string
Again, it’s easy to see the symmetric nature of the diminished scale when played
s are the same
on the guitar. You might also notice each inversion of the drop-2 chord voicing
fingering and that each note in each chord is diatonic to the scale.
In the drop-3 and drop-2 & 4 chords in Example 5 below all the notes are diatonic to Cdim.

Example 5
Drop-3 Chords up the neck in C Whole-half Diminished

3fr. ; ;
Ete:
mcd TD Bid!

What’s the best way to figure out the dominant function of a diminished chord? Let’s start with
the easiest to understand, which is a secondary dominant function. If we take our initial chord
progression:

Track 2 - Typical Chord Progression

CMAJ” CHdim? Dmi? Didim” Emi’

 The diminished chords function as secondary dominants. Let’s start with the C#dim7. I
find the easiest way to consider these scales is in terms of the dominant function it is
fulfilling. If the C#dim7 is functioning as A7(b9) then it might be easier for you to see the
scale in terms of the A7(59)/C# chord. The two diminished scales that you could use would
be the C half-whole or the C# whole-half. |

ae Track 3 Relating diminished to dominant

3fr.
The solid notes are the 3rd, 5th, b7th and b9th and are
CHdim? circled below, the hollow notes are a half-step below
the chord tones.
A7(b9)
a SS SS EES

v, a SD) ay ey ae, Gy Ra ee ee ee EE]

Ge) be \7th bOth Re) h

net Sth t b7th t

:-
|_f
rr fete

I’ve circled the root, 3rd, 5th and }9 of A in the C# whole-half diminished scale above.
Notice that the other notes are a half-step below each of these chord tones. By looking at the
diminished scale in a chordal or functional manner the resolution to the proper chord might
be easier for you.

Since the chord tones of a diminished or 7(b9) chord are a minor third apart, the same
chord played up a minor third will contain the same notes, although in a different
arrangement. (In addition to A7(b9), this chord could be considered C, Eb or F#7(b9)).

Example 6

A7(b9) Remember, all these chords are A7(b9). They all contain the 3, 5, b7 and 9 of A.
3fr. Bit 6fr. Hetey Heats Het 1 fr.
Or
1324 1324 1324

CHdim/ 2314 2314

b b

6 9 12
8 5 8 11
5 9 12
8 3 8 11
:
4
In Exercise 1 below I’ve written arpeggios starting from chord tones in the first 8 measures. The
chord tones for the diminished chords are derived from the 7(b9) chord and would be 3,5, 57 and
b9. For instance, in measure 2 the first chord tone is the 69 of A7(b9) and the subsequent chord
tones are the 3, 5 and b7. In measures 9-16 on the diminished chords if the diminished scale is
going up it has started from a chord tone the next note would be a half-step below the next chord
tone, etc. Going down it would a chord tone to a non-chord tone a half-step below.

Track 4 - Exercise 1 Arpeggio & Scale Exercise

7
Cua? CHaim?(AZES |) Ba Daim” (B79) )
 more function
The more you work with diminished chords and scales the easier it will be to link the diminished
oe to diminished chords. It might be easier for you in the beginning to link the chords to
unction.

Example 7 is the first 6 measures of ““How Insensitive” by A.C. Jobim. Jobim and other Brazilian
composers often use diminished chords and like the example below, they don’t always resolve as
one would expect.

Example 7

Dmi’ Dimi? CHdim/ CHdim’ Cmi! Cmi?

If we consider the C#dim7 to function as A7(b9) then it should resolve back to Dmi7 but instead
the subsequent chord is a Cmi7. Using a diminished scale based on the chord tones for A7(59)
will sound correct but the scale should change to C Dorian once the Cmi7 chord is played.

However, remember that a diminished chord could be any or all of 4 different 7(69) chords.
C#dim7 could be: A7(9) - C7(b9) - Eb7(b9) or F#7(b9). I find it best to consider the root of the
diminished chord the third of the 7(49) chord. For example, C#dim7 = A7(59)/C#.

All this information may be confusing. In traditional music theory the diminished chord is always
seen as a secondary dominant. You could condense the function to:

Diminished chord = Whole-half diminished scale from root

7(59) chord = Half-whole diminished scale from the root

NN—————

scales.
In the following exercise (Exercise 2-CD Track 5) I’ve used arpeggios and diminished
ent
Notice that when starting an diminished scale from a chord tone on a downbeat, the subsequ
of the
downbeats are all chord tones. For example, in measure 15 (beat one) the first note
Remember,
diminished scale is the 57 of A7(+9), beat two is the b9, beat three is third, and so on.
these chord tones are derived from A7(59), not C#dim7.
 Track 5 - Exercise 2 “How Insensitive” Beginning

Dmi? Dimi? C#dim Z

Spa

—a& — << fe}

Lay fe o) Ge< ~ alon Ss © S 42) (e)S oO n ° cS n —_=I° = on o Ss _n

4—5—7
5 —6
on

< i Ww) |
pd
co 5-/—8

10
It’s important to note that the diminished chords in many of these exercises don’t resolve as
expected. For instance, the Ebdim7 in the second bar of Exercise 3 doesn’t resolve to Emi7. This
is typical of diminished in songs like “O Grande Amor,” “How Insensitive” and many others.
Also note that the arpeggios are moving across the bar line to the closest chord tone.

Track 6 - Exercise 3 Chord Tones on Strong Beats

ll
”
Exercise 4 should help you to identify chord tones. In some instances the chord in the following
measure is anticipated. In other words, the scale is begun in the preceding measure before the
chord is played in the following measure.

Track 7 - Exercise 4 Scales and Chord Tones

<xSya S) 3 S) <= fo)= te|is)= on

6 (13) N He}oO iar)—_—N

Ore ies

non chord tones from weak beats

Bb? —
o
Swill
2Ul
|
5

7—6—4—3—_3—4

7—6—4—3——3—4 =—¢

| o> © » © o
to?) Oo

12
I’ve used scales and patterns in Exercise 5 in a manner meant to cross the barline. For instance,
the line continues by step from measure 1 into and through measure 2, the pattern continues from
measure 3 to 4, etc. With diminished chords, the hard part is determining the function so using
chord tones from E7(59) as a guide in the second bar might be easier than thinking in terms of
the diminished chord.

Track 8 - Exercise 5 Scales and Patterns Crossing the Bar Line

E7 is the V7 chord of A

Ae CICKdim PRELES. tn CiGan” C769)

eer=

a |

Cmi’ CHdim’ = 4719);

LS
= = al
Cmi7 C709)
 diatonic function
Another way to consider how diminished chords are functioning is to analyze them in terms of
one key. If each diminished chord is really four chords, then there will only be 3 separate uses
per key:

Key of C

Cdim7 (tonic) = V7(9) of iii (or V) = B7(b9)

Cédim7 (bii) = V7(b9) of ii (or IV).=A769)

Ddim7 (ii) = V7(+9) ofI(or vi) = G79)

Tonic Diminished: Songs such as “Embraceable You,” “If I Should Lose You” and “Upper
Manhattan Medical Group” utilize the true tonic diminished while “Witchcraft,” for instance,
uses tonic diminished with a b3 bass. The tonic diminished is used most often on 3 (for instance,
the bass note would be Eb instead of C in the key of C) and, to my ears, functions more as a
V7(b9) of iii and often resolves to a iii as it does on “Like Someone In Love” below:

“Like Someone in Love” (2nd half)

Cmas7 Gmi’ ors Fad” Bmi? E/

Functions as: B79)

Wes Montgomery uses both diminished scales and arpeggios verbatim on a tonic diminis
hed
chord on “If I Should Lose You” from The Complete Riverside Recordings. lve paraphrased his
improvisation and changed the key.

ave Track 9 - Example 8 “Jf I Should Lose You” Tonic Diminished

Delayed Resolution

'?) ra N

Igd=
4
2= i |a
8 8—11—7—10
7 7 —=40:—/-- 10-10

Exercise 6A on the following page will help you to recognize and negotiate a tonic diminished
chord and perhaps give you some ideas about ways to use diminished scales. For this exercise I
find it easiest to consider the tonic diminished as a V7(59) of i11, even if the resolution is not to
the iii chord. You could also consider it a V7(b9) down a half-step from the root, e.g. Key of C
tonic diminished = B7(b9). Like the verbatim diminished scale itself, it’s got a very bebop era
sound. I’ve also used diminished scales for the V7(b9) of the tonic (4th bar of every stave).
 Hise Track 11 - Exercise 6A Tonic Diminished

G79)

? ij ya 3% ve oO
</08

Nn Nw f=)

8—7—8—9 8 10-11

BbMAJ7 F7(b9)

EbMAJ7 BL79)
<(aa

AbMAJ7 Abdim/ E|,7(9)

DbmaAd7 Ab7(9) Db?

|

6 7—6—7—9—10-7

16
 Track 11 / Exercise 6A / page 2

EMAJ7

AMAJ’ F7(9)

7(9)
zs
Bia oreietee

oteft
Th g HT 4 Piri
Dy 5
i al

2
tact eh 8—9-12
7-8 10:7-8:10-11

p79)
GMAJ/

5-7 pol
9=f==6=k 6 9

Ly
 Track 12 - Exercise 6B Tonic Diminished

Tonic Dim. CmAd? Cdim’ Ebdim? CMAs? Gbdim 7 Adim 7 CMAJ”

FMAd/ Fdim’ Abdim’ FMA’ > Baim 7 Ddim/ FMA”

BbMAJ” Bbdim 7 Dbdim”? BbMAd7

O — 2)
|

Adim 7 Cdim/ EbMAu7

AbMAJ 7 Abdim’ Bdim? AbMAJ? Ddim’ Fdim? Abmay7

Dbmau7 Dbdim’ Edim” Dbma7

© op b @ o

18
 GbMAJ’ =Gbdim? Adim? GbmaJ? Cdim 7 Ebdim ti GbMAJ?
ESS
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AMAJ? im’ =AMAJ?
Adim 7 Cdim

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Ear
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4—5—4
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GmAJ/ Gdim 7 Bbdim 7 GMAJ/

19
V7(b9) of ii: There are many standard jazz songs that use a diminished as a secondary dominant
leading to the ii chord. To name a few: “Mean To Me,” “It Could Happen To You,” “Easy
Living,” “Have You Met Miss Jones.” The 7(b9) chords to the left of the staves refer to the 2nd
chord in the first and third bars of each stave. It’s interesting to note that often these diminished
chords are often replaced with a minor II/V7. For example, CMaj7 to C#dim7 would change to
CMaj7 to Emi7(b5) to A7(b9b13).

Another way to consider a bii diminished is a 113(b9). E.g., C#dim7 = C13(b9).

Wy)
Track 13 - Exercise 7A V7(b9) of ii Diminished

Ne Cua? CHdim? =Dmi? G79) CMa? Edim? Fay? G79) =Cway7

b b b >
jae

A7(9)
C79)
E|,7(b9)
F7(,9)

Faas? Fedim’ Gmi? C79) = FMay7 Adim? Bbma7? C769) Fray?

Dp7(-9)
F7(9)
A, 79)
Bb7(b9)

BbMAJ? Bdim’ = Cmi?7 F769) BbMay? Daim? Ebay? F769) — BbMay7

G79)
BL79)
Db7 +9)
E|,7(9)

AbMAJ? Bb769) Ebmay7

C719)
E|,7(b9)
Gp7(-9)
Ab79)

20
 Track 13 / Exercise 7A / page 2

Abmay7 Adim/ Bbmi? Eb79) Abmay? Cdim? Dbmay? Eb79) AbMAJ7

Dbmas? Ddim? Ebmi? Ab709) Dbmaj? Fdim”? Gbmas? Ab7>9) Dbmay?

GbMaj? Gdim’ GbMAJ7

A79)
B7(9)
ayaa

Bmaj? Cdim/ Cemi? FATS) Buns? Degim? Ewas? FH79)

:
===: =
8-11 9-11-12-9-11-6
10-8--7

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9—10

21
 bii Dim.
Ama? Afdim? Bmi’ E79) way? CHdim? Dm? E769) MAJ?

D#d im? DMas? Fedim? GMAJ 7 A7(9)

Dua’
;

iilal
Ami? p79) GMAJ? Bdim? Cmay7 D769)

sm
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 Track 14 - Exercise 7B V7(59) of ii Diminished

C#dim 7 Edim 7 CMAJ/ Gdim’ Bbdim ri

© i "
o
«1/08

BbMAJ 7

4ILL for)

Edim 7 Gdim 7 EbMAJ”

AbMAJ 7 Adim i Cdim 7 AbMAJ7

Dbmau? DbmAJ7

24
 Track 14 / Exercise 7B / Page 2

GbmAJ7

+ s foe)

BMAJ7 Fdim/ Adim?

i
nN |
(o>) if SobE

Fdim’ Gtdim? —-EMAY’ Bdim/ Ddim?

<(en
TY

6-06 5———8—6—11——14-12
Smeal
<(08

7—

22
 V7(b9) of I (or vi)

This is a diatonic dominant function. For example, in the key of C, Ddim7 = G7(b9) (V of I) or
E7(59) (V of vi). (Of course, the Ddim7 could also be Fdim7, Abdim7 or Bdim7). After playing
the written exercise for a while, try just improvising over the changes without the melody. If you
pan the speakers hard right the melody should be present but at a very reduced volume. I wrote
a through-composed exercise so the next “thing” is sort of a hybrid exercise/etude.

26
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F to avoid awkward page turns.

pis|
 Ws
es
ISG) Track 15 - Exercise 8 V7(9) ofI(or i or vi)
</08

9—5—8—6

nf F 13(b9)
b
mo
<jan

ite)
(Co) NR co

G_/— 9.7 6
7-3 8—10—8—7—8
10

Gbdim Bbmi’ B} 13(9)

28
 Track 15 / Exercise 8 / Page 2

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29
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9—5——7
A13(9)
Ddim?

oe) Q ill
6—9

2s
l]
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tlh
aa
TE
}
T]a ])© WR
pany
AL ! & |g
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Track 15 / Exercise 8 / page 4

if )
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< 2 alll |e a WIA)
Ei | th ali =
2
=
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Boba
Hl

31
T ? One ii) re | aa
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ae B N
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& all |/e]| &
ape

«jaa
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 Function (cont.): Cycling to I

The next example uses a very common progression:

Femi” >5) B13(9) E mi7(b5) A139) Dmi7>5) G 13(>9) Cay 7

The following is something John Scofield might play on songs such as “I Should Care” (you
might listen to Scofield’s wonderful playing on Jon Gordon: Possibilities. [DoubleTime Records
#171]). Jon Gordon is a great alto saxophone player based in New York city.

Femi” >5)
B 13(9) .

Approach Aa 2-whole quminished i> = =e ees Approach

Sn nneeeeeeeeeeeeeeee

In Exercise 9 on the next pages I’ve used the Melodic Minor scale for
the mi7(b5) chords and
diminished for the diminished chords. For example, Dmi7(b5) =
F Melodic Minor and G#dim7 =
G# whole-half diminished.

a2
 This page has been left blank
to avoid awkward page turns.

33
 Track 16 - Exercise 9 Cycling to I

£
lal
G mel. min.

Femi 75 ) D#dim? Emi 7(b5) CHdim 7 Dmi 7 (b5) Bdim c CMAJ”

4lit i°)

FMAd 7

D mel. min. m = ra € <

Emi 7(b5 ) C#dim 7 Dmi 7(b5 ) Bdim/ Cmi7b5 ) Adim Z BbMAJ 7

ih
Hil
U
N | |

34
 Track 16 / Exercise 9 / page 2
Emi7 5) C#dim/ Dmi/ +5) Bdim/

4—5—/--8

Ami? 5) Fdim/ G mi? (>5) Edim’ Fmi7®5) Daim? EbMAJ7

D mel. min. C mel. min.

E mel. min.
12 iia 0Leo Th
pe ee ee N25 Oger ut 8

GHmi7>5) Fdim/ Femi 7(b5) D#dim 7 Emi 7(b5) CHdim” DMAJ”

A mel. min.
G mel. min.

8—/—s

35
 Track 16 / Exercise 9 / page 3

or
naa
at —=
a
ae

mS
ros a

ST
6 710 6710-9 7
aE a RN Sie BN 8 Saal a Onno ao
ea a eee ec
oe ee see |

Atmi7>5) Gdim’

Atmi”>5) Gaim? Gtmi7>5) =Fdim?

36
 |i
© \ { i }
|
Lied)
ani
.
ry

i |

eee
OGn
i/
4°
Oa
slze
‘

This page has been left blank

to avoid awkward page turns.
Rhythm changes offer a lot of opportunities for the use of diminished. Listen closely to John
Scofield (“Flat Out” Flat Out & “Wee” En Route) or to Joe Henderson (“Passport” The Montreal
Tapes) and you might pick up some ideas about what great players such as these two can do with
diminished. In the meantime > perhaps this etude will give you some ideas.

Track 17 - Etude 1 Rhythm Changes

F7(>9)

Fi’ Bb! Eb Ay Di? G79)

Fmi? Bb’

38
 Track 17 / Etude 1 / page 2

05-01 9——6—6

Eb Ab? Cmi! F7(b9) Bb

Fmi’ Bb?

G79) F7(>9) G79) Cmi! F7(,9)

Cmi! Dimi’

2g
 Track 17 / Etude 1 / page 3

Ab? F7(9) Bb
Fmi’ Bb/ Eb Cmi!

|! - L -~ | \eSo SS

40
Track 18 - Etude 2 F & Bb Blues

Gmi 7 ¢ 1319) F/

ia es ee
i se ae ee De Ee
Y iS as as
fanasearg i
The |

7 5
8 8—_5—6

C79)
Gmi L ¢ 1319)

4]
 Track 18 / Etude 2 / page 2

F7 BL7 Bdim/ F7(>9)

|
Dp 7(>9)

|
8—6—7

13(9)
F? F7(>9)

|! i

F13(9) F7(>9)

42
 Track 18 / Etude 2 / page 3

Bb! G79)
EL?

F13(>9) F7(,9)

B79)

G79)

==) |
aa
—
=a

8—6
7
8—_5—6—9

B),7(#11)
Fon

—0

6
7
6

43
 We Track
wis 19 Etude 3 Autumn Leaves Changes

F7(,9) BbMAJ/

ois

Ami? 5) Dp 7(b9) Gmi’ G79)

~<
|
,4 |aed

Dp7(9)

Ami? 5) D7(b9) G79)

44
 Track 19 / Etude 3 / page 2

4—5—4—5—7

p79) Gmi! G79)

F7(9 ) BbMAJ/

ea
= aes
ca
SS 7 =

6—_5—_6

p79) G79)
Ami? 75) Gmi!

—6

F7(>9) BbMAJ/ EbMAd/

p79 ) Gmi’ Gmi?

45
 Track 19 / Etude 3 / page 3

Ami? >5) Dp7(b9) Gmi? G79)

6—7—4—3 3—5—5—3—5 566-9 —

5 7—|-6—7
ay ee

Cmi’ F7(b9)

Ami? >5) p79)

EbMAJ7 p79)
Gmi?

46
 Chapter Two - Triads & Triad pairs
Both major and minor triads work well over diminished chords. I find it easiest to use pairs of
major triads. In Example 10 below, the four dominant chords can be derived in a few different
ways. One way is to think of the chords (or triads) to be one half-step below each of the notes in
the diminished chord:

Or, you consider function. If the Bdim7 is functioning as a G7(59), for example, the four triads
would be derived from the four notes a 1/2 step below a G7(59) chord.. The same would be true
for B}7, Db7 or E7. Although four major (or minor) triads will sound good on diminished chords
the pair I find the most effective are the root and tritone based on function. For example: Bdim7
= G7(59) = G and Db triads.

CHORD NOTES IN CHORD

Triads 1/2 step below Bb DEG

Track 20 - Example 10 Four Triads

| ea eee
| Could be four different dominant chords (or just the triads)
G7>9) BL,7b9) p79) F7(b9)

Oon

There are patterns using 4 triads starting on page 75 in Chapter 4, Patterns.

47
I like the sound of the two major triads a tritone apart like in the third and fourth measures in
Example 10. These triplet figures fall nicely on the fretboard but there are a lot of different
fingering possibilities.

Track 21 - Exercise 10 Major Triads a Tritone Apart

eae
a
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48
Ws
C
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' Track 22 - Exercise 11 Major Triads a Tritone Apart

2 3
23
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49
ise Track 23 - Exercise 12 Major Triads a Tritone Apart

| i
-

50
In the next two exercises I’ ve tried to keep the chords and arpeggios on
one string set. Stayin §
on the same string sets will give a smoother, more flowing sound to the big interval jumps found
in these triads arpeggios.

Track 24 - Exercise 12a String Set Exercise

NE."
ava

51
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This is an example of how you might use these major triad pairs in context.
— 4

Pade Track 26 - Exercise 13 Triad Pairs (Excerpt from “It Could Happen To You”)

2 eS ST RY ee ee *
o> a ES 7

AbMAl? Gmi7%5) nn
j : :
CEES
aS ESS 2 eee ee ee ee Ce
VE PL BBA EE EE ET PN OBE

° j :
=) Je 2 EG RSET DS SS Se Sl BS |) eR
Cw Seo OS ea 2
LS i 4 Se SES i]

Si is Ga es a os |
moe Pacg— aa eae Sane eatBee eaOa
ee a

53
All four minor triads will work as well but I find it a better sound to “toggle” between major and
minor triads in just one pair rather than two. For instance:

C7(b9) = C (Maj. & min.) and F# (Maj. & min)

Because the chords are an equal distance apart (tritone), you can use these triad pairs for two
different chords.

vise Track 27 - Exercise 14 Major Triad Pairs w/ Major/Minor Toggle

¢ 13(9) FH13(9) Dim.7 chords = B, D, F, Ab

Silt
S S
iS aa
a
uw ryJ

Minor to major 3rd

) eaaee
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5——_7—8
=)
8

Soar
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LS ae
6
5 7
—7—9

F139) B13(9) Dim.7 chords Bb, Db, E, G

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54
 Track 27 / Exercise 14 / page 2

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55
Track 27 / Exercise 14 / page 3

10-7—8—11-10

6/109 12-38-39
oot 8
7

5 5
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56
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rit Track 29 Etude 4 What Is This Thing Called Love chord changes

Dmi7 5) G 13(9)

Gmi7>5)

| i it it
[2 Oo

D mi? (5) G 1319)

Cmi? F139)
b be
SS
t}
SS 2S i

Era
10
10
Fos 10

Ebmi’ Ab?

58
 Track 29 / Etude 4 / Page 2

8—10—11

6 Ono 8—10—7

G mi? (>5)

10

i)
 Track 29 / Etude 4 / Page 3

F13(,9)

Ebmi? Ab! Dmi?

Gmi 7(b5 C1319 )

Dmi 7(b5) G 13(9)

60
 tritone pairs with b5 to 5 toggle
Notice how this
66
toggle” 9
gives a leading tone to the root of the next chord.

Track 30 Example 11 Triad Pairs w/ b5 to 5 Toggle

ae Track 31 - Example 12 More Patterns w/ b5 to 5 Toggle

61
 .
Here are some patterns that combine the 53 to 3 and }5 to 5 toggle

W>
mist Track 32 - Example 15 Combining the 3 and 5 5 to §

oO 10-6 ——_o 7,

62
ri Track 33 - Etude 5 “O Grande Amor” Changes

Ami? G#dim/ Gmi’

F 7(b9)
A (b9

D mi 7 G7b9 )

= o

Bbmay/
(11 Bmi 7 (5) = (b9

63
 Track 33 / Etude 5 / Page 2

GE
Ami’ GHadim? Gmi?

Bmi7>5) F 7(b9) A7(9) A7(b9)

FMAd?

BbmaJ7 Bmi?69)

64
 Chapter Three - 49 Pentatonic Scales
This particular pentatonic scale doesn’t get much play but it has a nice sound. Pentatonic scales
are a bit like a hermaphrodite scale - part scale, part arpeggio. This scale is like a major
pentatonic (Root, 9th, 3rd, 5th, 6th) except the 9th is a 59th.

wuise) Track 34 - C 49 Pentatonic

Due to the symmetric nature of the b9 pentatonic scale, four scales would work for one
diminished (or 759) chord. Notice in example 14 below how all four }9 pentatonic scales contain
only notes that are in a C half-whole diminished scale. Of course, this scale could also be
considered an E}, A, or Gb half-whole diminished scale.

Example 14 Four 59 Pentatonic Scales

C half-whole diminished scale be be |

Gb(>9) Se
C(b9) Penatonic E+(b9) Penatonic A(b9) Penatonic
b
ffr\ = So —————

65
 pair up
Now, how about some exercises? Yes, absolutely - I'll bore you some more. I’m going to
the 69 diminished scales, but this time I "Il use pairs a minor third apart: C & E>, Gp (Fb) and A.
These sound very much like a pattern (because they are).

Hise Track 35 - Exercise 16 49 Pentatonic Pattern

C (69) Pentatonic

Eb (69) Pentatonic

66
 Track 35 / Exercise 16 / Page 2

Gb (69) Pentatonic
(sie
ca
a

ae
ee
ap
eS
ee
aeS
349 —$—9—49—

rill

ull
A (69) Pentatonic

67
The fingerings are different in these three exercises.

Track 36 - Exercise 17 Pentatonic Pattern

Bb (69) Pentatonic

rial
MiHe
cll
Mu
wie
ll
HH
i
!

I
D> (69) Pentatonic

68
 Track 36 / Exercise 17 / Page 2

E (69) Pentatonic

G (59) Pentatonic

69
 You can really hear the arpeggio quality to this scale in this exercise. You might notice that these
scales are not always starting from the root. See Melodic Improvising for Guitar by Bruce
Saunders (Mel Bay Publications #20216).

Pais Track 37 - Exercise 18 59 Pentatonic Pattern - (2nd x dbl. x)

B (69) Penatonic

D (69) Penatonic

F (69) Penatonic
hee
p ape

Ab (69) Penatonic
Daud

70
 [awe (ee Ge
ae Wee Gen wh «©

ee ae Se

yates
net
iyat

This page has been left blank

to avoid awkward page turns.

gal
WISE) Track 38 - Etude 6 Caravan Changes

Eb (69) Pent. C (69) Pent.

A (69) Pent.

A (59) Pent. Eb (9) Pent. C (69) Pent.

Gb (69) Pent. (69) Pent.

E> (59) Pent. Gb (69) Pent.

C (69) Pent. b (59) Pent.

Tz
 Track 38 / Etude 6 / Page 2

aa = wm= — = oO= — A (69) Pent. E} (59) Pent.

Gb (b9) Pent.

Ov
I awo = ray
Salad waa —

<>
CO

<>
«
CO

Bb (69) Pent.

E (69) Pent.

C (69) Pent. A (69) Pent.

 Track 38 / Etude 6 / Page 3

=
1) ——aon) jaeo S va
B (69) Pent. D (59) Pent.

A (69) Pent.

E> (59) Pent.

C (69) Pent.

‘ilull
alll
by

52
<x Q.

7.
zal
oO i= vay Gb (69) Pent.
E} (69) Pent. C (59) Pent. |
aw — ——s
e

<p

ee

C (69) Pent. E> (69) Pent.

15
WH

74
 Chapter Four - Patterns
On the CD the pattern will be pla yed, 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 No. 1

i2=—3——9
r So
ik ~i i

In Context:

Fidim/

i)
 neSc) Track 40 Pattern No. 2

(C 7(>9))

In Context:
El Fim? C7(9)

A779)

Dmi 7 G79)

76
 Cos
wise)
I
Track 41 Pattern No. 3

Pattern 3:
Edim’ (c 7(b9) )

--
| = Soi - | baSo
it

In Context:
F7(,9)

i |iP |? i 7 61 Onl ce

D’ (b9) 6 7(b9)

Ay
 ise Track 42 Pattern No. 4

| = L| i =
foe)

SS laos 11
VO

In Context:

Dmi?

ie
att
©

fd
{

78
we
Miist Track 43 Pattern No. 5

Pattern 5: Ddim/ (B,7¢9) )

In Context:
BL? B)79)

q2
 a a
Dealt |a
° TSHHATH ie)
a a| Re
" ©
|aN
‘ =o TAG »|| 3
aah 1a) b oe) I Nn ¢ $|
<x ©
[Je
| [debs i i
e ut r Nv
Hie T o wlll ¢I
ib Tesiit: Te
j aAy] os
A pattern using 4 triads. (See Chapter 2: Triads and Triad Pairs).

2 N
LS Tice | Be
j| “HAY |? aul ill
Tt
- <li A
lll
4 atin ri
T any i"
Is r 5 ill

80
> |
AO x b IM 2
HT") | taal r
TT |
“11 a
foo}
Petttl
G)

_ 7 eT
allDat aaa
ae
Sreeuiitey| |
Track 44 Pattern No. 6

il Te} (@>) CT
eee a "Ee |
(C79) )
Wi | =< 4 sl
74) |= T
=
=
st ES |
Hh ° i
up) ||| DH
Caim?
© ih ss |
Ns WT|
i|
eS HAT |Ilel| & ell

Pattern 6:
io) ih
=<if0a) il
=
=
— WA
h° ASS N° eeicn
Another pattern using four 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.

WwW
Ce
ise Track 45 8 Pattern No. 7

In Context:

81
This is a really beautiful sound. You might want to listen to the amazing guitarist Kurt
Rosenwinkel on “East Coast Love Affair” at 7:32 on his great CD East Coast Love Affair on
Fresh Sound/New Talent records. He does something very similar.

WiS6) Track 46 Pattern No. 8

In Context:

o256—-6.9

Dp 7(>9)

Gmi 7 (ewe(b9)
6 7(b9)

82
Check out John Scofield on “Whip the Mule” @ 1:36. Scofield has
played this pattern on other
recordings as well. “Whip the Mule” is from Hand Jive which
should be in everyone Ss music
2

collection.

Track 47 Pattern No. 9

Pattern 9: C#dim 7 (¢769))

In Context:
EbMAJ? Edim’ Fmi?

C719)
Gmi 7(b5)

| | :J -

83
 (a.
'isc Track 48 Pattern No. 10

Pattern 10: CHdim! (ozh2))

Variation:
A13gyg9)

8—9 11—5—_6—8

84
 Track 49 Pattern No. 11

Pattern 11: C#dim” (C79) )

9—11—-14-12

In Context:
F7(,9)

BL! Ef p79)

C79) F/ C79)
Gmi’

85
 Track 50 Pattern No. 12

Pattern 12: C#dim/ (c709) )

In Context:

Bb? B79)

Cmi? F7(-9) Bb? F7(>9)

eos
is D2
p |

3)

86
 Track 51 Pattern No. 13

In Context:

G79)
Ami Cmi? Ami 7(b5)

87
 Track 52 Pattern No’s. 14-16
Pattern 14 Ogi? (C769))

a eee

o
=
Pattern 15

Pattern 16

a
ear)
eee eee, 2 oe
8 11 11 —14
3 6
3

fe
[) D ea
a aa eared Ra ia | ey
Saad

—
|
Ua
aa aaa ri a
Sar
af... == = Asko fans
DS = (Seecees aa

14
lise 12-. 8
5 5 8 S=2

88
 es
fi§e) Track 53 Pattern No. 17 & 18
Pattern 17 CHdim 7 (¢7b9))

Pattern 18

Pattern 18 (Bill Evans: "Sweet and Lovely" from Explorations

)

89
Wes Montgomery was fond of using diminished chords as approaches to other chords such as
Maj6 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

COmorn

cor COr-

NeNr
rrrr
MOMC

90
This chordal Montgomery-style pattern would work on the #IV diminished of a blues. You
might want to listen to Wes Montgomery on “Fried Pies” around 5:48.

Track 55 Chords

ac TE Pees: FTeTeon. FLT

Bb?
be 4
me |

rai Track 56 Turnaround

G/ DL7411)
10fr. Aaya Fara cease uu

96 4
64

91
 APPENDIX: Practice Tracks

Track 57 “What Is This Thing Called Love?” Changes

® Gmi75) (1319) Fi’

Dmi7(5) G13(9) Cway7

“a
vise) Track 58 Blues in F

Track 59 Blues in Bb

Bb? Eb? Bb? ee Se

Bb79)
ee eee ae eee bas ee
EE

95
ii Track 60 “Autumn Leaves” Changes

SM ee
SS Sa ee
Be eRe ee es SS SS SS
C252 0 |= ey sey Ey 2S Sey ES 4 ETE ee A A I Len a EE EES LR LED LFS LI
ES
=

Ami?) D709) Gmi? G79)

Cmi’ F7(>9) BbMAJ ” EbMAJ7

Ami? 5) p79) Gmi? C719) Emig BL 7(-9)

EbMa 7 D 79) Gmi? G79)

—_— > aa
a a a a

94
 About the Author

photo © Jimmy Katz

Currently a Professor of Music at Berklee College of Music where he has taught since 1992. Has also taught at
The New School in New York city and at New York University. He has presented numerous clinics worldwide
including the International Jazz Seminar in Xalapa, Mexico, clinics in Bogota, Medellin, Bucaramanga and
Baranqilla, Colombia, Valencia, Madrid and Barcelona, Spain, Osaka and Tokyo, Japan, at the Berklee Guitar
Sessions and the Maine Jazz Camp. He has recorded with such jazz luminaries as Jack Dejohnette, Dave Holland,
Peter Erskine, Kenny Werner, Bill Stewart, Michael Cain, Glen Velez, Harvie Swartz, David Berkman, Otmaro
Ruiz, Tony Scherr, Mark Murphy, Ben Monder, Steve Cardenas and many others. He has performed with Scott
Colley, Bill Stewart, Yoron Israel, Bill Pierce, Terry Clarke, Tony Scherr, Bill McHenry, Donny McCaslin, Rick
Margitza, John Hebert, Dave Pietro, Bobby Previte, Essiet Essiet, Sam Newsome, Leon Parker, Harvie Swartz,
Ron McClure and many others.

Current Mel Bay Publications/Recordings

.eee 20216BCD
06.50 eee eee ee
Jazz Pentatonics: Advanced Improvising Concepts for Guitar (Book/CD Set) ........

Melodic Improvising For Guitar: Developing Motivic Ideas Through Chord Changes (Book/CD Set ....... 20415BCD

Modern Blues: Advanced Blues Reharmonizations & Melodic Ideas for Guitar (Book/CD Set) ............ 20415BCD

“The Bruce Saunders Quintet” 8 x 5 (Mel Bay Records CD)

UU UUEtt EIESS SEES

Please visit www.brucesaunders.com for more information, free lessons and free transcriptions.

OS
 Selected Discography

2007 “The Terry Bowness Organ Trio” (Aardvark Records)

2006 “The Alan Ferber Nonet” The Compass (Fresh Sound/New Talent)

2006 “Tom Cohen” The Guitar Trio Project (Dreambox Media)

2006 “The Bruce Saunders Quintet” 8 x 5 (Mel Bay Records)

2004 “The Alan Ferber Nonet” Scenes From An Exit Row (Fresh Sound/New Talent)

2002 “The Bruce Saunders Quartet” Fragment (Moo Records)

1998 “Bruce Saunders” Likely Story (MOO Records).

Featuring Peter Erskine, Dave Pietro, Dave Carpenter, Otmaro Ruiz

OOF “Dave Pietro” Wind Dance (Challenge Records)

Featuring Dave Pietro, Dave Holland, Kenny Werner & Bill Stewart

1996 “Bluth” (Garbonzobean Records)

Featuring Zach Danziger, Tim LeFebvre, Wayne Krantz, Lincoln Goines, et. al.

1996 “The New York Guitar Trio” Razing The Standard (Midi Records-Japan release only)
With guitarists Ben Monder and Steve Cardenas

1995 “Bruce Saunders” Jazz Hymns (Midi Records-Japan release only)

With Steve Cardenas and Pedro Eustache

L995 “Bruce Saunders” Forget Everything (Moo Records)

Featuring Jack DeJohnette, Michael Cain, Tony Scherr and Dave Pietro

1994 “Strange Pursuit” The Zone (Red Hook Records)

1994 “Michael Cain” Strange Omen (Candid Records)

With Cain and percussionist Glen Velez.

96
 INS, INC, PACIFI
AL COPYRIgyy C, MO 6ag6¢”
|
S.A,
SECURED,
 e A thorough explanation of how the
diminished scale functions.

e A comprehensive study of diminished

scales and chords.

e Many patterns and sequences are used

in context.

e Exercises and etudes using familiar chord changes.

e Companion CD features a world-class New York

rhythm section.

e Saunders is currently a Professor at Berklee College.

For a complete listing of all the titles available in

the Mel Bay Guitar University series visit:
www.melbay.com/mbgu.asp

7
:a
tl
hi MB21294BCD
$19.99 USD
9 780786 679201
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