Draft

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

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Diminished Scales
Diatonic Functioning Diminish Chord

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 ............................. VI-7 bVI dim 7 .............................. resolve to ................................. V7

#I dim 7 ................................ resolve to ............................... II-7

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

V 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. I dim 7
C di m7

I Maj 7
C Maj7

& bbw w w w

w w w w

w
T9

b
b3

w
T11

b
dim 5

w
(6)

dim 7

nw
TM7

#
F

bw w & b #w w

I dim 7 F #di m7

II-7

w Aw w w

G -9

#
R

w
(2)

Aw
b3
(4)

dim 5

w
Tb13

b
dim 7

#w
TM7

Bb

III dim 7

b w & b b w bw w

D bdi m7 C #di m7
Aw w # nw w

II-7

w AAw w w

C -7

#
R

w
(2)

n
b3

w
(4)

dim 5

w A
Tb13 dim 7

#w
TM7

See Tip on Page 29.

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

#
G

&

w w w ##w

II dim 7 A #di m7

aw w w w

III-7 B -7

#
R

w
(2)

#
b3

w
(4)

aw
dim 5 Tb13

dim 7

w
TM7

#
C

bw w & #w w

F #di m7

IV dim 7

V7
G7

w w w w

#
R

w
(2)

b3

w
T11

dim 5

w
Tb13

b
dim 7

#w
TM7

w & b bbw w w

V dim 7 C di m7

V7

Aw w w w

C7

w
T9

b
b3

w
T11

b
dim 5

w
(6)

dim 7

bw
(7)

#
F

w &b A w #w w

V dim 7 C #di m7

VI-7
D -7

w w w w

#
R

w
(2)

b3

w
(4)

dim 5

w A
Tb13 dim 7

#w
TM7

Bb

b w b w w & bw

G bdi m7

VI dim 7

F #di m7
Aw w #w w

V7
F7

Aw w w w

#
R

w
(2)

Aw
b3
(4)

dim 5

w A
Tb13 dim 7

#w
TM7

See Tip on Page 29.

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

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Symmetric Diminished Scale

bbbw w w & w

G di m7

C Maj9

w w w w w

w
R

w
T9

1/2

bw
dim 3

w
T11

1/2

bw

b w 1/2 b w
Tb13

bw
TM7

dim 5

dim 7

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. Therefore, 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.

bw w # w w & w

9 G7( # 11)

C Maj9

w w w w w

bw

Tb 9

bw

T# 9

nw

T#11

#w

13

w7

Altered

Lydian b7

9 D b7( # 11)

The same scale may start on the root of the substitute dominant chord.

b ww w b b w & w w

w w w w w

C6

Tb9

T# 9

T#11

bw

nw

w
Altered

bw

bw

13

bw

b7

Lydian b7

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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 diminished 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
C

#I dim 7
#
C di m7

V on 5th
G/D

#II dim 7
#

I on 3rd
C/E

bw & w w w w w #w w The #I dim 7 did not resolve to II-7.

w w w

w w ##w w

D di m7

w w w

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 semidiatonic 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.

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)

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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
I A-

w
II

w
bIII

w
IV

w
V

w
bVI

w
bVII

Diatonic Chords / Modes C Maj Ion IMaj7 Dori II-7 Phry Lyd Mixo III-7 IVMaj7 V7 Aeo Loc b VI-7 VII-7( 5)

w &w w w

w w w w

w w w w

w w w w

w w w w

w w w w

w w w w

I-7 Aeo A-

II-7( 5) bIIIMaj7 IV-7 Loc Ion Dori

w w w w

w w w w

w w w w

w w w w

w w w w

V-7 bVIMaj7 bVII7 Phry Lyd Mixo

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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 relative 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
Leading Tone

w w w

w
Not Leading Tone

A Harmonic minor

&

w #w
Leading Tone

Aug 2nd Gap

A Melodic minor

#w w nw nw w w w # w w w w w w w w
Leading 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 interval 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

A -7 B -7

II-7( 5)

b (b5)

bIIIMaj7
C Maj7

IV-7
D -7

V-7

bVIMaj7

bVII7

&w w w w

w w w w

w w w w

w w w w

w w w w

E -7

w w w w

F Maj7

w w w w

G7

Harmonic minor I-(Maj7)

A -(Maj7) B -7

II-7( 5)

b (b5)

bIIIMaj7(#5)

& #w w w w

w w w w

#w w w w

C Maj7( 5)

IV-7
D -7

V7

bVIMaj7

VIIdim7

w w w w

w #w w w

E7

w w w w

F Maj7

w w w #w

G #di m7

Melodic minor Ascending I-(Maj7)

A -(Maj7)

II-7
B -7

bIIIMaj7(#5)

& #w w w w

#w w w w

#w w w w

# C Maj7( 5)

IV7

V7

VI-7( 5)

w #w w w

D7

w #w w w

E7

w w w #w

b b F #-7( 5)

VII-7( 5)

#w w w #w

G #-7( 5)

-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 Aeo
A -7

II-7( 5) Loc
B -7

bIIIMaj7
Ion
C Maj7

(b5)

IV-7 Dori

V7 Mixo

bVIMaj7
Lyd

VIIdim7 dim

& w w w w

w w w w

w w w w

w w w w

D -7

w #w w w

E7

w w w w

F Maj7

w w w #w

G #di m7

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

E7

& w
R

w
Tb9

#w
3

(4)

w
5

w
Tb13

w
b7

Therefore, this is Mixo b9 which contains b13 automatically.

diminished scale for VIIdim7 is shown below.

& #w
R

(2)

w
dim3

(4)

w
dim5

w
Tb13

w
dim7

w
T Maj7

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

-9-

Minor Key (cont.)

"-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. Thereb fore, the mode is Locrian for the II-7( 5), and Mixo b9 for the V7.

b II-7( 5)
CLoc

V7
Mixo b9
G7
3

I Maj7
C Ion
C Maj7

4 &4

b D -7( 5)

Night And Day by Cole Porter

b II-7( 5)
FLoc

V7
Mixo b9 F

I Maj7
Ion
F Maj7

4 &b 4

b G -7( 5)

b C 7( 9)

j # .

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

C -7

II-7( 5)
D -7( 5)

bIIIMaj7

IV-7

V-7

bVIMaj7

bVII7

w &b b w w w

bw w w

w w bbw w

E bMaj7

bw b w w

F -7

w bw w w

G -7

bw w b w

A bMaj7

b w bw w

B b7

Tonic minor I-7

C -7

bIIIMaj7

Subdominant minor V-7 II-7( 5)

D -7 G -7

& bbw w w w

bw w bw w

E bMaj7

w bw w w

b (b5)

IV-7

bVIMaj7

bw w w

w bbw w

F -7

w w bbw

A bMaj7

bVII7
7 bB w w bw

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

&w
R

b
(2)

bw
b3

w
T11

w
5

b
(b6)

w
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)

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minor II - V - I b II-7( 5)

V7
b G 7( 9)

IC-

&

bw w w w
b

D -7( 5)

w ww bw

bw w w

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)

&

bw w w w

D -7

b (b5)

bII Maj7
w w bbw w
D bMaj7

Lyd

bVI Maj7

&

bw w b w w

A bMaj7

bVI7

bbw w bw w

A b7

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.

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

Modal Interchange (cont.)

Mixolydian Modal Interchange Chord.

V-7 C Mixolydian Scale

G -7

bVIIMaj7
B bMaj7

&

w
R

w
T9

w
3

w
(4)

w bw w w
5

w
T13

w w w w
b7

bw w w w

C7

Summary of the basic Modal Interchange Chords

Tonic minor from natural minor Subdominant minor from natural minor I-7

bIIIMaj7
V-7 (not common)

Aeolian Ionian Phrygian Lydian Locrian Dorian Lydian Lydian b7 Mixolydian Locrian Mixo b9, b13 Lydian Dorian

bIIMaj7
II-7 IV-7

(b5)

bVIMaj7 bVI7 bVII7

II-7( 5) V7

b II-7( 5)

V7

from Harmonic minor Mixolydian Modal Interchange

bVIIMaj7
V-7

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

- 13 -

Modal Interchange (cont.) IMaj6

B Maj6

bVIMaj7 b G Maj7

SubV7

B7

b 2 . b & 4 R
1 2 3 4

IMaj6

B Maj6

I-7

B -7

V7(b9)/II

G 7( 9)

b . b & R
5 6 7 8

IMaj6

Ab

B Maj6

II-7

B -7

V7

E7

b . b & R
17 18 19 20

Eb IMaj6

II-7 IV-7

V7 V7/IV

B Maj6

F -7

B7

b & b . R
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).

w & #w w w

D7

CMaj7

w w w w

w #w

w w

Since II7 is derived from V7/V, Take The "A" Train changes (below) is well known.
CMaj7 D7( 11)

4 &4 w

j. # .

D -7

G7

. w

# b b .

CMaj7

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. VI-b6

III7

IV Maj7

V7/VI

w & #w w w

E7

w w w w

FMaj7

w # ww w

E7

ww w w

A -( 6)

bVI7

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

bVI7

bbw w w & bw

b A 7

I Maj

bVI7

w w w w
C

bbw w bw w

b A 7

V7
G7

w w w w

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
FMaj7

V7/II

II-9
D -9

w w & # ww

A7

w w w w

#w w ww

A7

w w w w

VII7

Since VII7 is derived from V7/III, it resolves to I Maj7 which is III- without the root. VII7
B7

I Maj7
CMaj7

V7/III
B7

IIIE-

w & ##w w w

w w w w

w w ##w w

w w w

Ha o S g n gi n i Sw

rd

Int ern atio G nal v roo

eM

u O t I

ach ine

- 16 -

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

k c e h

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

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