Draft

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) -1-
 Diminished Scales

Diatonic Functioning Diminish Chord

I dim 7 ................................ resolve to .......................... I Maj 7

#I dim 7 ................................ resolve to ............................... II-7
bIII dim 7 .............................. resolve to ............................... II-7
#II dim 7 ............................... resolve to ............................. III-7
#IV dim 7 .............................. resolve to ................................. V7
V dim 7 ............................... resolve to ................................. V7
#V dim 7 ............................... resolve to ............................. VI-7
bVI dim 7 .............................. resolve to ................................. V7

• All the diatonic functioning diminished chords must resolve by half step up or down,
except I dim 7 and V dim 7 resolve to the same root.

C I dim 7 I Maj 7
C di m7 C Maj7

& b b ∫ www www

w bœ w bœ ∫w ∫œ nw
w w œ
R T9 b3 T11 dim 5 (6) dim 7 TM7

#
F I dim 7 II-7
F #di m7 G-9
bw
& b # www A wwww #œ w œ Aw œ w bœ #w

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

b
Bb III dim 7 II-7
D bdi m7 C #di m7 C -7
b
& b b ∫ ∫b wwww A ww
# n ww A A wwww #œ w nœ w œ w Aœ #w
See Tip on Page 29. R (2) b3 (4) dim 5 Tb13 dim 7 TM7

-2- Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 #
G II dim 7 III-7
A #di m7
w a wwww œ ‹w
B -7
# œ aw
& # # www #œ w #œ w

R (2) b3 (4) dim 5 Tb13 dim 7 TM7

#
IV dim 7 V7
F #di m7
C
G7
bw www w bœ #w
& # www w #œ w œ w œ
R (2) b3 T11 dim 5 Tb13 dim 7 TM7

V dim 7 V7
F
C di m7 C7

& b b b ∫ wwww A www

w œ w bœ w bœ ∫w ∫œ bw
R T9 b3 T11 dim 5 (6) dim 7 (7)

#
V dim 7 VI-7
C #di m7
F
D -7

& b A# wwww www w œ w Aœ #w

w #œ w œ
R (2) b3 (4) dim 5 Tb13 dim 7 TM7

b
Bb VI dim 7 V7
G bdi m7 F #di m7 F7
b b ∫ ∫ ∫ www A ww A www œ Aw œ w Aœ #w
& bw # ww w #œ w
See Tip on Page 29. R (2) b3 (4) dim 5 Tb13 dim 7 TM7

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) -3-
 Symmetric Diminished Scale

b b b www
G di m7 C Maj9
ww
W 1/2 W 1/2
bw
W
b w 1/2 b w W bw
& w ww w w bw w
w
R T9 dim 3 T11 dim 5 Tb13 dim 7 TM7

• Symmetric Diminished Scale appears as non-diatonic functioning

diminished chord (means it does not fit any one of eight categories
described before). Because the scale is built with constant whole/
half steps, there is no tension which will create b9th interval. There-
fore, all the tensions are available.

• The example shown above will sound strong resolution because

of the root motion of V to I. G dim 7, however, does not create any
logical voice leading (will be discussed later). Therefore, G dim 7
is not functioning as diatonic.

Combination Dominant Scale

• If one diminished scale could built with whole and half steps, the
reversed positions as half/whole would be possible, too. This scale
is usually used for dominant. Note; there is no available tension
this time.

b
G7( # 11)
9
b ww C Maj9
www
R Tb 9 T# 9 3 T#11
w
5
w
13 b
w7
& www
#
ww w bw bw nw #w
Altered Lydian b7

• The same scale may start on the root of the substitute dominant
chord.
b
D b7( # 11)
9 9

b wwww ww
C6 R Tb9 T# 9 3 T#11 5 13 b7
& b b ww www w bw bw bw
bw nw w w
Altered Lydian b7

-4- Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Non Diatonic Functioning Diminished Chords
Additional information for the diminished chords (p.10-12).

• As we discussed thoroughly, diminished chord scales will be decided by the fact that if the dimin-
ished chord is acting as a diatonic function within the key of the moment.
The list below shows the progressions which will not create a resolution sound in the sequence
even though it may look diatonic functioning diminished chords. This list will against the list on
page 10.

bII dim 7 ........... goes to, but does not resolve to ........... I Maj7
bV dim 7 ........... goes to, but does not resolve to ........... IV Maj7
bVI dim 7 .......... goes to, but does not resolve to ........... V7
bVII dim 7 ........ goes to, but does not resolve to ........... VI-7
#VI dim 7 .......... goes to, but does not resolve to ........... VII-7(b5)

Those progressions are called non diatonic functioning diminished chords sequence. Therefore,
the chord scales will not be considered by the Key of the moment. The Symmetric diminished
scale will be used, instead.

• Again, if any of the diminished chords do not resolve in the Key of the moment as shown on the
page 10, the chord scale will be Symmetric diminished scale as well.

• There is an exception to the rule above.

I #I dim 7 V on 5th #II dim 7 I on 3rd

C
#
C di m7 G/D
#
D di m7 C/E

& www b ww ww ww
# # ww
ww
w # ww w w
The #I dim 7 did not resolve to II-7. Instead, it resoled to V with the 5th (D) on bass. This is a
semi-diatonic functioning progression, because the ear will hear the bass move to the 2nd degree of
the diatonic scale (C Major) as where the II-7 is supposed to be, and the actual chord on top of the
bass which is another diatonic chord. #II dim 7 resolves to I with the 3rd on bass is also semi-
diatonic for the same reason. Therefore, the chord scale will be decided by the Key of the moment.
Note that this kind of progression is commonly heard in Gospel music.

Tip Enharmonic respelling is necessary when the root of the diminished choed is flat.
b #
I.e.; Respell E dim 7 to D dim 7 in order to find the chord scale.

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) -5-
 Minor Key

Relative Keys

• Relative Keys are a pair of keys which uses same key signature. Those two keys are Major and
minor, and the minor key starts from VI degree of the Major key. In other word, the tonic of relative
minor starts from Major 6th above the tonic of relative Major.

C Major ---- Major 6th ↑ ---- A minor

C minor ---- Major 6th ↓ ---- EbMajor

Scale Degree
C Maj
I II III IV V VI VII
w w w w w
&w w w w w w
w
I II bIII IV V bVI bVII
A-

Diatonic Chords / Modes

C Maj
Ion Dori Phry Lyd Mixo Aeo Loc
b
IMaj7 II-7 III-7 IVMaj7 V7 VI-7 VII-7( 5)
www www www www www www www www
& wwww www w w w w www www w w
w w w w w
II-7( 5) bIIIMaj7 IV-7 V-7 bVIMaj7 bVII7
b
I-7
Aeo Loc Ion Dori Phry Lyd Mixo

A-

-6- Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Minor Key (cont.)

• Minor scale has three different types. The reason is Leading Tone.
Leading Tone is a note which leads the tonic form -2nd below.
Since Natural minor scale (Aeolian Mode) is VIth mode of rela-
tive Major, the scale does not have Leading Tone. Therefore,
Natural minor does not sound resolving to the Tonic.

C Maj Scale A Natural minor Scale (Aeolian Mode)

&w w w w w w w w w
w w w w w w
↑ w ↑
Leading Not
Tone Leading
Tone

A Harmonic minor Aug 2nd A Melodic minor

Gap
& w w w #w w w w # w #w w nw nw w w w
w w w ↑ w w w ↑
w w
Leading Leading
Tone Tone

• Harmonic minor is a minor scale with Leading Tone. Leading

Tone is needed for resolution harmonically. Note that raising the
7th note to make Leading Tone changed V-7 chord to V7 chord
(E-7 to E7 in A minor, see page 32), which makes much smoother
progression of V7 to I -.
• Harmonic minor is smoother harmonically. It, however, no longer
smooth as a scale because Leading Tone created an Aug 2nd in-
terval from the 6th note F. To make the scale smoother, the 6th
note is rased, too. That is Melodic minor Scale. The rased 6th
and 7th are needed only when going up to the tonic. Therefore,
descending scale goes back to Natural minor Scale (Aeolian
Mode).

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) -7-
 Minor Key (cont.)

Diatonic Chords

Natural minor
I-7 II-7( 5)
b bIIIMaj7 IV-7 V-7 bVIMaj7 bVII7
A -7 B-7 (b5) C Maj7 D -7 E -7 F Maj7 G7
www www www www
& www www www w w w
w w w w

Harmonic minor
I-(Maj7) II-7( 5)
b bIIIMaj7(#5) IV-7 V7 bVIMaj7 VIIdim7
(b5)
#
A-(Maj7) B-7 C Maj7( 5) D -7 E7 F Maj7 G #di m7
www w
& # www www # wwww www
w # wwww w # www
w w

Melodic minor Ascending

I-(Maj7) II-7 bIIIMaj7(#5) IV7 V7
b
VI-7( 5) VII-7( 5)
b
# b b
A-(Maj7) B -7 C Maj7( 5) D7 E7 F #-7( 5) G #-7( 5)
w w ww # ww
& # www # wwww # wwww # www # www # ww # ww
w

-8- Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Harmonic Consideration for minor key

Typical minor diatonic chords in minor key chord progression.

I-7
b
II-7( 5) bIIIMaj7 IV-7 V7 bVIMaj7 VIIdim7
Aeo Loc Ion Dori Mixo Lyd dim
A -7 B-7 (b5) C Maj7 D -7 E7 F Maj7 G #di m7
www w
& www www www
w
www
w # wwww w # www
w w

• Because Mixolydian and diminished scales varies according to the Key of the Moment, all the
tension notes must be adjusted.

E7

¿ w w w
& w w #w
R Tb9 3 (4) 5 Tb13 b7

Therefore, this is Mixo b9 which contains b13 automatically.

diminished scale for VIIdim7 is shown below.

¿ w w w w
& #w ¿ w

R (2) dim3 (4) dim5 Tb13 dim7 T Maj7

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) -9-
 Minor Key (cont.)

b
• "-7( 5)" appears very distinctively. Most likely, this is a
II chord of a minor key of the moment. If this chord is
followed by a Dominant chord, it must be a minor II - V
progression, no matter what chord to resolve. There-
b
fore, the mode is Locrian for the II-7( 5), and Mixo b9
for the V7.

b
II-7( 5) V7 I Maj7

C- Loc Mixo b9 C Ion

b
D-7( 5) G7 C Maj7
4
3

&4 œ œ œ w ˙ œ œ #œ w ˙ œ œ œ
Night And Day by Cole Porter

b
II-7( 5) V7 I Maj7

F- Loc Mixo b9 F Ion

b b
G-7( 5) C 7( 9) F Maj7
4 œ ˙ j j
&b 4 œ. œ #œ . œ ˙ ˙ Œ œ
b˙ ˙
I Love You by Cole Porter

- 10 - Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Modal Interchange

C Natural minor
I-7
b
II-7( 5) bIIIMaj7 IV-7 V-7 bVIMaj7 bVII7
b
D-7( 5) E bMaj7 A bMaj7 B b7
C -7
bw
F -7 G -7
w b www b œw
&b b www b wwwœ w b wœw b www b ww
w b b www b œ

Tonic minor Subdominant minor

I-7 bIIIMaj7 V-7 II-7( 5)
b
IV-7 bVIMaj7 bVII7
E bMaj7 (b5) A bMaj7 b
C -7 G -7 D-7 F -7
w b Bœww 7
& b b wwww b ww b wwww b wwwœ b b wwœw b b wwœ bw
b ww

• Note that the notes indicated black are scale degree b6 in C Natural minor (C Aeolian) which is the
Avoid. That is why any diatonic chord contains scale degree b6 is not Tonic minor. Those are
Subdominant minor chords.

V-7 (G Phrygian)
G -7
bw w w b¿ w
&w b¿
R (2) b3 T11 5 (b6) b7

• V-7 is not common, because b3 of the Parent minor Key (Eb in C minor) which is necessary to
characterize minor sound is not chord tone nor available tension on V-7 (Phrygian Mode) Scale.

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 11 -
 minor II - V - I

b
II-7( 5) V7 I-

b b
D-7( 5) G 7( 9) C-

& b www w b www

w b www
b
• Because the II-7( 5) usually precedes the V7 chord, it is a modal interchange chord from Harmonic
minor.

Altered Subdominant Chord

II-7( 5)
b bII Maj7
D-7 (b5) D bMaj7
& b wwww w
b b www
Lyd

bVI Maj7 bVI7

A bMaj7 A b7
b ww b b www
& b ww bw
Lyd b7

• Note that the bVI7 (altered bVI Maj7) and the bVII7 (diatonic) are not Dominant functioning chords
because those are not located at the 5th position in the diatonic, and do not resolve to I- going down
Perfect fifth.

- 12 - Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Modal Interchange (cont.)

• Mixolydian Modal Interchange Chord.

V-7 bVIIMaj7
G -7 B bMaj7 C7
C Mixolydian Scale
w ww b ww
b www ww ww
& w w w w
w
R T9 3 (4) 5 T13 b7 R

Summary of the basic Modal Interchange Chords

Tonic minor • I-7 Aeolian
from natural minor • bIIIMaj7 Ionian
• V-7 (not common) Phrygian

Subdominant minor • bIIMaj7 Lydian

from natural minor • II-7 (b5) Locrian
• IV-7 Dorian
• bVIMaj7 Lydian
• bVI7 Lydian b7
• bVII7 Mixolydian
b b
II-7( 5) V7 • II-7( 5) Locrian

from Harmonic minor • V7 Mixo b9, b13

Mixolydian Modal • bVIIMaj7 Lydian

Interchange
• V-7 Dorian

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 13 -
 Modal Interchange (cont.)

IMaj6 bVIMaj7 SubV7

b
B Maj6
b
G Maj7 B7

b b 2 ‰. œ œ œ œ œ Œ
& 4 R œœœœ œ ˙ œ
1 2 3 4

IMaj6 I-7 V7(b9)/II

b b b
B Maj6 B -7 G 7( 9)

b b ‰. œ œ œ œ œ Œ
& R œœœœ œ ˙ œ
5 6 7 8

IMaj6 Ab II-7 V7
b
B Maj6 B -7
b E7
b

b b ‰. œ œ œ œ œ Œ
& R œœœœ œ ˙ œ
17 18 19 20

Eb II-7 V7

IMaj6 IV-7 V7/IV

b
B Maj6 F-7 B7
b
b
& b ‰ . Rœ œ œ œ œ œ œ œ œ œ ˙ œ Œ
21 22 23 24

- 14 - Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
 Special Dominant

• Special Dominant Chords are chords which appear in diatonic situation, yet do not resolve by going
down Perfect 5th nor minor 2nd.

II7 II7 appears as a substitution of V7. The tritone resolves to a part of I Maj7 (5th, M7th).

D7 CMaj7

& # wwww ww
ww
w
#w ww
œ

Since II7 is derived from V7/V, Take The "A" Train changes (below) is well known.

#
CMaj7 D7( 11) D-7 G7 CMaj7
4 jœ. œ œ
&4 w œ œ œ #œ ˙ . ˙. Œ w œ #œ œ œ bœ œ bœ œ œ ˙ . ˙.
Œ

• II7 can be explained as a Modal Interchange chord from I Lydian.

III7 Since III7 is derived from V7/VI, it resolves to IV Maj7 which is Inverted VI-6.

III7 IV Maj7 V7/VI VI-b6

b
E7
www
FMaj7
wE7
wwww
A -( 6)

& # wwww w # www

bVI7 Since bVI7 is same structure as SubV7/V, it resolves to I Maj with 5th on root.

bVI7 I Maj bVI7 V7

b b
b b www www b b www
A 7 C A 7 G7
ww
& bw w bw ww

Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 15 -
 Special Dominant (cont.)

VI7 Since VI7 is derived from V7/II, it resolves to IV Maj7 which is II-9 without the root.

VI7 IV Maj7 V7/II II-9

A7 FMaj7 A7 D-9
w ww ww
& # www ww # www
w wwœ

VII7 Since VII7 is derived from V7/III, it resolves to I Maj7 which is III- without the root.

VII7 I Maj7 V7/III III-

B7 CMaj7 B7 E-

& # # wwww ww
ww # # www
w ww
w

rd
Ha
Int

o
ern

g S
n
atio

i n gi
nal

Sw
G
roo
t

veM
O u

ach
ine
I t
e c k
h C

- 16 - Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA)
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 25 -
Jazz Theory II, Draft, ©1997 Hiroaki Honshuku (A-NO-NE Music, Cambridge, MA) - 25 -