We can arrive at our conclusion mathematically, by simply understanding that there are 12 notes in music, and since we repeat every fourth scale, then 12 divided by 4 (12/4) = 3 actual dominant diminished scales. If the scales are symmetrical, then going up the scale should be the same as going down the scale, and indeed we find that it is relatively the same, with the exception, that we have to adjust by a half step at the beginning of the descent. F#/Gb: F#, G, A, Bb, C, C#, D#, E, F# A#/Bb: A#, B, C#, D, E, F, G, Bb, A# How To Build The Dominant Diminished Scale, View Lesson 49: How To Build The Fully Diminished Scale, View Lesson 51: Comparing The Diminished Scales. It is also a so-called symmetrical scale since the intervals are consistent. The way to memorize this, is to think that the diminished scale repeats every 4th note, so we end up with a simplified pattern that looks something like this: This helps simplify the concept so that we can understand that whatever tonic we start from, if we go up or down 4/2 steps, we will arrive at the same scale again. In jazz theory, it is called the diminished scale (Campbell 2001, 126) or symmetric diminished scale (Hatfield 2005, 125) because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as a combination of two interlocking augmented triads. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. The C dominant diminished scale will contain C and Bb, so this would be a good scale to choose for soloing over that scale. E: E, F, G, G#, A#, B, C#, D, E C#/Db: C#, D, E, F, G, G#, Bb, B, C# This is because the pattern to build the dominant diminished scale is a complete sequence of half and whole steps. This scale is primarily used in jazz music and works well together with alternate seventh chords. It is a scale that starts with a half step and goes half step, whole step, half step, whole step all the way up the piano. The dominant diminished scale is one of the coolest sounding scales to improvise with over dominant 7 chords. Copyright © 2012-2020 pianoscales.org. A: A, Bb, C, C#, Eb, E, F#, G, A F: F, Gb, G#, A, B, C, D, Eb, F Here is the G Dominant Diminished Scale: G#/Ab: G#, A, B, C, D, Eb, F, Gb, G# Like its brother, the fully diminished scale, the dominant diminished scale is octatonic in nature, and exists only in a few forms. The Dominant Diminished Scale is also referred to as the Diminished Blues and it shares many notes with the Pentatonic Blues scales. Dominant Diminished Scales overview It is also a so-called symmetrical scale since the intervals are consistent. Now that we have covered both the fully diminished scale, and the half diminished scale, our next objective is to compare the two scales so that we may understand their differences, and similarities. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. The same is also true for some diminished chords. Here are all of the dominant diminished scales written out for reference: A dominant diminished: A, Bb, C, Db, Eb, E, F#, G and A, Bb dominant diminished: Bb, B, C#, D, E, F, G, Ab and Bb, B dominant diminished: B, C, D, Eb, F, Gb, Ab, A and B, C dominant diminished: C, Db, Eb, E, F#, G, A, Bb and C, C# dominant diminished: C#, D, E, F, G, Ab, Bb, B and C#, D dominant diminished: D, Eb, F, Gb, Ab, A, B, C and D, Eb dominant diminished: Eb, E, F#, G, A, Bb, C, Db and Eb, E dominant diminished: E, F, G, Ab, Bb, B, C#, D and E, F dominant diminished: F, Gb, Ab, A, B, C, D, Eb and F, F# dominant diminished: F#, G, A, Bb, C, Db, Eb, E and F#, G dominant diminished: G, Ab, Bb, B, C#, D, E, F and G, Ab dominant diminished: Ab, A, B, C, D, Eb, F, Gb and Ab. G: G, Ab, A#, B, C#, D, E, F, G For example, a C dominant seventh chord will contain the notes C, E, G, and Bb. A dominant diminished scale will have a 1 and a b7 relative to  a tonic chord, thus dominant chords can be used with dominant diminished scales. ディミニッシュコードはこの例のように、例えば「C」をルート音とする場合には「Cdim」と表記されます。 ディミニッシュコードの特徴 上記図のようにディミニッシュコードは間に二音ずつを挟んで重ねられるため、1オクターブ十二音の中を三音で四等分するような配列となります。 Thus, diminished scales are fully invertible. The Diminished Scale is built upon two diminished seventh chords. If that explanation didn’t make any sense, don’t worry we’ll be covering chord construction in future music theory lessons. (adsbygoogle = window.adsbygoogle || []).push({}); In this music theory video lesson, we will learn how to build the dominant diminished scale. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). C: C, Db, D#, E, F#, G, A, Bb, C Over a dominant 7 th (b9) chord, starting the diminished scale a half-step above the root (also sometimes called the “auxiliary diminished” scale or the “b9” scale, this is similar but not identical to the altered scale – note that the diminished dominant scale has a natural 13, not a b13, and it has the perfect 5th above the root – which is not the case with the altered scale):

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