Because of the symmetry of the diminished scale, any of the notes from the three pitch collections could be replaced as the starting note for a diminished scale. These note interval qualities are diminished, minor, major, perfect and augmented. This step shows the D-flat diminished triad chord note interval names and note positions on a piano diagram. The tonic note (shown as *) is the starting point and is always the 1st note in the major scale. Confusingly, I have heard BOTH the “whole-half” and the “half-whole” diminished scales referred to as the “auxiliary diminished scale” by different sources, but since different people mean opposite things regarding the term, I would recommend steering clear of it.
The Lesson steps then explain how to construct this triad chord using the 3rd and 5th note intervals, then finally how to construct the inverted chord variations. Seeing the notes in a pitch collection outside of their relationship to a sequential “scale” can theoretically be a positive thing for an developing improviser seeking to play coherent melodies instead of just “using this-or-that scale to improvise.”. These note names are shown below on the treble clef followed by the bass clef. The root note is always the 1st note (note interval 1 in the above diagram) of the major scale diagram above. These note names are shown below on the treble clef followed by the bass clef. Based on this numbering scheme, another name for this inversion would be D-sharp diminished triad in six-four position. The Lesson steps then explain how to construct this triad chord using the 3rd and 5th note intervals, then finally how to construct the inverted chord variations. The second note of the original triad (in root position) - note Fb is now the note with the lowest pitch. Remember that since the diminished scale has alternating half-steps and whole-steps, you can actually start on ANY note in the scale and ascend the pitch collection until you reach an octave above your starting note. These numbers represent the interval between the lowest note of the chord and the note in question. The piano diagram below shows the interval short names, the note positions and the final note names of this triad chord. Every white or black key could have a flat(b) or sharp(#) accidental name, depending on how that note is used. Without this 3rd note, suspended chords tend to have an open and ambiguous sound. These note names are shown below on the treble clef followed by the bass clef. C-flat, E etc). So another name for this chord would be D-sharp diminished triad in five-three position. The note order of this triad can also be changed, so that the root is no longer the lowest note, in which case the triad is no longer in root position, and will be called an inverted triad chord instead. This step shows the D-flat diminished 2nd inversion on the piano, treble clef and bass clef. To count up a Whole tone, count up by two physical piano keys, either white or black. In the same way that the entire chord itself has a chord quality, the intervals representing the individual notes within that chord each have their own quality. It’s ambiguous. Unlike all of the above qualities, Suspended triad chords do not use the 3rd note of the major scale (at all) to build the chord. The figured bass symbols for this chord inversion are 6/4, so the chord is said to be in six-four position. This is most commonly referred to as the whole-half diminished scale. The figured bass symbols for this chord inversion are 6/4, so the chord is said to be in six-four position. These note names are shown below on the treble clef followed by the bass clef. It is these variations of the 3rd and 5th notes that give each one a distinctive sound for any given key (eg. The D-sharp diminished 2nd inversion contains 3 notes: A, D#, F#. There is a movement in modern jazz theory to talk about scales in terms of “pitch collections,” which is just what it sounds like; a collection of pitches. The numbers in brackets are the note interval numbers (ie the scale note number) shown in the previous step. We assign numeric value (an interval) to each note, the scales will use the numbers 1 2 3 4 5 6 7 8. The white keys are named using the alphabetic letters A, B, C, D, E, F, and G, which is a pattern that repeats up the piano keyboard. The three diminished pitch collections can arbitrarily be thought of as starting on C, F, and G. I will list the pitch collections in terms of the half-whole diminished scale based on C, F, and G, although I could have just as easily written out whole-half diminished scales starting on C, F, and G instead. Depending on your starting note, you’ll either be playing a half-whole diminished scale, or you’ll be playing a whole-half diminished scale. The major scale uses the W-W-H-W-W-W-H note counting rule to identify the scale note positions. Musically, this is interesting, since it is usually the 3rd note of the scale that defines the overall character of the chord as being major (typically described as 'happy') or minor ('sad'). The links above explain in detail the meaning of these note qualities, the short abbrevations in brackets, and how to calculate the interval note names based on the scale note names from the previous step. The figured bass symbols for this chord inversion are 6/4, so the chord is said to be in six-four position. The staff diagrams and audio files contain each note individually, ascending from the root, followed by the chord containing all 3 notes. Depending on your starting note, the two types of diminished scales will alternate, starting with a half-step or a whole-step as the starting interval. Without this 3rd note, suspended chords tend to have an open and ambiguous sound. Triad chords exist in four different chord qualities, which are major, minor, augmented, and diminished. The figured bass symbols for this chord inversion are 6/3, so the chord is said to be in six-three position. Here is an example of a diminished lick used over a 7(b9) chord, for further study.
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