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PIAN7
) Thischapteris inspiringnot only
) from my To illustratethis point further,
perspective asa pianist,but alsofroma philo_ think of a
) sophicalpenpective-that chord right-handed pianouolcingfo, un e.i
s unO (from bomomnorcro top) ct o.O
) Qikeotherthingsin life) canb. rh;il;;u,
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fluid andhavingpotentialro. againstA in rheleft hand.acmaUy
) conrturiiinterac_ tfriJuoi._
) tion.Wearerequired,then,,o ing canbe foundin therepertoi..lir".r:*,
*t pianists;however,nor many
) eachchordoriginates,andto examine
"onriJ.. playerswould
frow"r.
me considerincorporating? D,
) chordsarerelatedoneto eachother. anF or an eU inro
Themisconception that specificchordalsffucture.
I . that chordsarefixed
pointsin thetune,boundby Clarificationof how Am7 (going
I to
movement,
verticalfru*onl.
may be theculprit behindthe the key of G) is acually c6 foil;;;'#l*u, D7 in
dencyto play thesametwo or ten_ B, D, F, andAb_beingpart
threeuoi"ing. of the C6 dimin_
overandoverfor the samechange. :T9. r.T*ureauperrecuy
*."p"L!'i"i r"
tntroduced menfioninteresting)
hereis a'scalefor chording,,*i notechoicesfor me amZ
u *"rtoO chord.
assjsrung virtually anychordro on. oi*o "f
scales-rftemajor 6 diminishea Barry masterfullydemonstrates
anati, mio, a the con_
hed. ceptandapplicationof movable
tr,evarious
!:(:i:is .rhrough
wnlcnpracticing
w;;; ;;'- thesegmentwithin thecontext "fr".O, fr",,"
chordson theirrespective of several
scalesis demonstrated, funes.
seehow,ir;;;;;_ *(Transcriptions
tionsaboutharmonicrigidity of rubatopassages are
Oisperr="--'*" meantto illustratetheharmony*O
ti uppro*i_
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matetherhphmicshapeof the
Notesfor guitar players: tune.)

ilftlllT 'j3:::i#:T"fiil[ ]Hlfil.$o1ro-.,rstring


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intherouowing
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2) rn guitu notation'thereare
oftentwo numbersbesidea note.
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CkF"43

The C6 Diminished Scale


3-la) This figure showsthe C6 diminishedscalein chordswith voic-
ings for the piano and for the guitar @g.3-1b).

3-2a) Here, the C6 diminishedscaleis shownin single notes.Fig.3-Zb


gives the guitar fingering.
This scaleis actuallycomprisedof all 3 diminishedchords.The
C and A belong to one diminished,the E and G to a second,and the B
diminishedchord providesthe other four notesof the scale.

3-3) Thesetwo illushations show the C6 diminishedscaleperformedin


contrarymotion: a) in singlenotes,and b) in chords.

The C Minor 6 Diminished Scale


3-4) The C minor 6 diminished scaleperformed up and down. (To prac-
tice this scaleas a2bar phrase,play it up and down to the major 6th
degree,omitting the major7thand the octave.Not shown on video.)

60
Mo,u/,l'bC/,",r/4NonP,*"*,a^l q4^;f/"r,
Fig.3-la

Fig.3-lb

lo, o, @, @' @'


Fig.3-2a

Fig.3-2b

o-@-o-
Fig.3-3a

Fig.3-3b

Fig.3-4

61
Cls*an3
3-5) Chords found on the C minor 6 diminished scaleare illustrated
here: a) C minor triad on the lst degree;b) the D minor triad on the 2nd
degree;c) 2nd inversion Ab major triad on the b3rd degree;d) 2nd
inversion Ab minor triad also on the b3rd degree;e) the F minor triad
on the 4th degree;f) the F major triad also on the 4th degree.

3-6) "Alone Together"startswith its first chord,Cffi, being voiced with


the b6th, a diminishednote from the scale(the Ab), then resolvingback
to the 6th degree(A). In the third bar a Cm6 chord movementis shown
on the C minor 6 diminishedscaleresolvingto Dm7b5.

3-7) This figure illustrates the movement of an EbmT chord on the Gb6
diminishedscale,resolvingto Ab7. It is performedin the context of
"Body and Soul."
The movement over the Ab7 chord to get to the Dbmaj7 makes
use of the A minor 6 diminished scale, the altered scalefor the Ab7
chord, also referred to as 'the tritone's minor.' (This term comesfrom
the'important minor,' seeFig.2-8, and is being usedhereto refer to the
chord on the 5th degreeof the tritone of Ab-Am.)

3-8) Re-thinking the m7 and the m7b5 chords


Every minor 7 chord is an inversion of a major 6th chord, and every
minor7 flad chord is an inversion of a minor 6th chord. This figure
showsAm7b5 on ths major 6th degreeof the Cm6 diminishedscale.
Notice that it is also simply an inversionof the Cm6 chord. (On the C6
diminishedscale,the chord on the major 6th degreeappearsasAm7.)

3-9a)Moving Am7 on the C6 diminished scale


In this figure, an Am7 chord is performedascendingthe C6 diminished
scale.Each note movesto the next note on the scale.Fig.3-9b voices
the sameexample on the guitar.

62
l'l o^u,l/tC/,",r/4Nf" Plr*. aal Qr^;aa,
Fig.3-5a

Fig.3-6 "ALONETOGETHER"

..BODY
& SOUL''

?t 1'- v. q t.'
*C,b6 Fo Ci O Fo C,tO

* EL6T = C,f6

Fig. 3-8
C/i*e"43
3-10a)Moving a voicing through the C major scale
Here, chordsare played up a C major scale.Fig.3-10billustratesvoicings
for the guitar.

3-11a)Moving a voicing through the C6 diminished scale


The sameinitial chord as in the previous figure is now performed on the
C6 diminishedscale,with guitar fingeringsshownin Fig.3-11b.
Rememberto moyeeach note to the nextnote of the scale.

64
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i! = t ca
t J i) =

r,t1f-l
u h 1 =u
tl
4)
r=

65
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3-12) The 6 diminished scalecontains two dominant 7th chords
Illustrated in this figure is a key difference betweenthe major scale and
the major 6 diminishedscale.As Barry mentions,notice that the major
6 diminished scalecontainsthe dominant 7th chord belonging to the
key, (in this caseG7), aswell asthe dominant7th chord belongingto
the relative minor of the key (87).

3-13) Ending a tune with movementson the 6 diminished scale


a) Voiced for the guitar, this figure shows an ending for a tune devel-
oped by playing up the lst four chordsof the C6 diminishedscaleand
resolving IVm-bVII7 (implied by the 'E' moving to 'D,'the 3rd of
Bb7) to Imaj6.

b) Another illustration of using a 'chords on the scalemovement' to


createan ending. This exampleis performed by Bany.

3-I4) This figure extendsthe exampleshownin Figs.3-l3a&b, devel-


oping the idea into a four key exercise.

66
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Fig.3-13a

Fig.3-13b

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rl - ]
ry . e J: LN 4T E-

6)
Ak*Ar43
3-15) Using the C6 diminished scaleon II-V-I in G major
a&b) Thesetwo figures illustratethe movementof an ArnTchord (C6)
on the C6 diminished scalewithin the context of a llrn7-Y7-Imaj pro-
gressionin the key of G.

c) Here, a variation of the previous exampleis written in guitar nota-


tion.

3-16) Using the C minor 6 diminished scaleon II-V-I in G


a&b) Two examplesshowing Am7b5 (Cm6) moving on the C minor 6
diminished scalewithin the context of a IIm7b5-V7-I progression,first
in the key of G major, then G minor. @ig.3-16cillustratesa thfudexam-
ple for the guitar.)

3-11)'Borrowed Notes'
This example demonstratesthe samechord progressionas the previous
figure; however, it incorporates 'borrowed' dirrnnishednotes. The 'C'
and 'Eb' are notes of the F# diminished chord-the related diminished
to D7. Borrowed diminishednotesare circled in Figures 3-17, 3-18,
3-19,and3-22.

69
l'lo.uzl,I"
Ch,J4 lf" P*r*. r,'il Qr^;aa,
Fig.3-l5a Fig.3-15b

Fig.3-15c CVtr

Fig.3-16a Fig.3-l6b

Fig.3-l6c

Fig.3-r7
3
e/,/f,errr
3-18a&b) The following two examplesillustratediminishednotes
(circled),borrowedfrom B diminishedon the Cm6 chord.

c) Performed by Barry, this exampletakeschords up the C6 diminished


scalebeginningwith a voicing that includesa diminishednote with the
C6 chord, alternatingwith a diminishedchord using a note of C6.
(Fig.3-18dillustratesa2nd similar example,not shownon the video.)

3-l9a) Based on "Django" by John Lewis

70
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Fig.3-l8a

Fig.3-l8c

Fig. 3-l8d

Fig. 3-19a"DJANGO" (last8 bars)

a)

Am
vr/f iin Am
Dm6 Bm7 lr :
C/i4A-r3
3-19b)Basedon "If I ShouldLoseYou'oby Robin-Rainger

3-19c)Basedon'6InYour Own SweetWay" by DaveBrubeck

' Maj or-minor-minor/6'


3-20)This figure showstheprogressionfrom majorto minor to minor
with the6th degreein thebass(Bb major-Gminor-Gm/E).
l'lo^til'IzC/",a/4lp" Plr*. a"rJqr;r-,
Fig. 3-l9b "IF I SHOULD LOSE yOU"
Gm7 GYr-,

E'maj7 C7 @o) Bb7 Bmai7


,-3n

Fig. 3-19c"IN YOUR OWN SWEETWAy,,


Am7b5 D7b9 Gm Gm6

Fig.3-20

13
CkFr43
3-2la) The previousprogressionbasedon bars24-25 of "Stella by
Starlight" by Young-Washington. The chord movementsare I major-
Ill7-relative minor-bVldim-Im ail5 -minorI 6"

b) Here, the harmonic concept of the previous figure is applied to a


progressionbasedon the tirst 4 barsof "Like SomeoneIn Love" by
van Heusen-Burke.

c) Again, the harmony of Fig.3-ZIa is appliedto changesbasedon the


first 2 bars of "I RememberYou" by Schertzinger-Mercer.

d) The movementson the 24th-25thbars of "stella by Starlight" writ-


ten for guitar.

l(+
Houal'L"C/'t',/4 Nf" PW, a+J Qr;lt"t

!o {- A BY STARLIGI{T"
ft?l
@

Fig. 3-2lb "LIKE SOMEONEIN LOVE"

Fig.3-2lc "I REMEMBER YOU"

Fig. 3-21d "STELLABY STARLIGHT"


Afui^t-r3
3-22) The 4 related dominant Tths used as V7 substitutions
In the following two figures,(3-22awritten for guitar and3-22b for
piano), we have illustrations of how related dominant 7th chords may
be usedto substitute'for eachother'when the V7 chord moves back to
the I. Referto Figs.1-15,1-15a,and 1-17for explanationof how to find
the dominant7th chordsrelatedto a given diminishedchord; and also
for examplesof how to practice thoserelated dominant 7th scales'into
eachother'to outline key chord movements.In the following examples,
D7 going to G major is outlined.The diminishedthat D7 comesfrom is
F# (F#-A-C-Eb). Given that F7, Ab7, and B7 arealso relatedto F#
diminished, they make very interestingvoicings when played againstD
in the bass.In addition, notice how diminished chord tones (circled)
can be incorporatedinto the progression.
f'lo.vzl'/"Ch,l/", N,t"P*-*, ail Qr^:l:'t

Gmaj7

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