You’ve heard about the scales. You understand the music theory. And you’ve even played through the patterns in a few exercise books. But when it comes to actually improvising with the diminished sound, something is missing. Well, today we’re going to show you how to bridge that gap…
You see, scales, shapes, patterns, and harmonies utilizing the symmetry of the diminished sound are more common than you might think. And they’ve been used by dozens of important improvisers, past and present.
If you’ve ever listened to recordings of John Coltrane, Bill Evans, Mulgrew Miller, or Michael Brecker you’ve heard diminished patterns in action.
And if you’ve checked out tunes like Kenny Kirkland’s Chance, you know there are numerous possibilities within the unique sound of diminished harmony:
The diminished sound, in both a harmonic and melodic sense, is an important part of the modern jazz vocabulary. And it’s a sound that you should master on your journey as an improviser.
In 10 Diminished Patterns That Will Transform Your Next Jazz Solo, we explored the music theory behind this sound, looking at how master improvisers apply it in their solos.
This is a good introduction to understanding the basics, but if you want to actually improvise with this sound in your own solos, you’ll need something more…
The exercises you should be practicing
Music theory is useful in understanding how a chord or melodic phrase works, but it’s only half the battle. That’s why we developed this diminished handbook.
Think of it as a practice resource that’ll take you from an intellectual understanding of diminished sounds to actually having the skills necessary to improvise with them in a creative way.
Get beyond thinking about a singular scale, a lick, or individual chord tones, and start playing what you’re feeling and hearing in the moment.
Over the course of 30 pages, we’ll cover the theory, give you musical examples from master musicians and lay out exercises ...