Diminished Form: Vertically

Demonstration

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5 3

The Diminished Form!

!

The
diminished interval is the Fourth Primary appearing on the circumference of the circle at!
!!
!
four
points. When meeting in symmetry with each other they form an equilateral Diamond.!
!
eg. 15
!
E

D#

F#

C#

G#
B

A
Bb

5 Vertical Augmented Inversions!

! Groups)
(Commen
!

Adjacent String Groups

3

2 1

6 5

G C# E Bb

5 4

II

III

5 4

II

E Bb C# G

C# E Bb G
!

Non-Adjacent String Groups

3

2 1

6 5

III

5 4

II

E Bb C#
C#

Bb E G

Some of the most valuable elements found within the common groups are based upon !
!
opposition.!
!
!
The third primary, (the augmented triad) reveals itself horizontally within two types of inverted!
!
alterations. One of them, (major) being the result of any singular descending tone, while the!
!
other, (minor) is the result of an ascending tone. !
!

Both the augmented, and the diminished forms organize themselves into adjacent, or non- !
!
adjacent sets. Let's briefly look into another facet of this study, once again based upon the!
!
opposites.

Horizontal vs. Vertical Alterations!

!

eg. 16
a.

(Horizontal)
5 4

5 4

1
6

5 4

IV

II

III

G# Mi

B, D#, G Aug
B Ma
!

Adjacent String Groups

b.

(Vertical)
2 1

6 5

2 1

5 4

II

C# Aug

G# Aug

5 4

II

II

5 4

II

F# Ma

B Mi

Non-Adjacent String Groups

c.

(Vertical)
2 1

5 4

G# Aug

5 4

3 2

II

II

5 4

II

A Ma

F# Mi

Examples 16a, b, and c seen above show the same effect taking place. Eg.a proceeds by!
!
either lowering, or raising the selected tone, while vertically the augmented triad when !
!
!
dispursed using the same fingering below itself in four adjacent string groups produces a!
!
natural reoccurrence of the same types of opposite siblings, (one Aug., and two Major, and
!
Minor triads). !
!

Similar effects take place within the diminished form, (the fourth primary). The chord !
!
transforms itself horizontally into 4 inversions, and vertically into 3 co-related forms.
eg. 17

Horizontal vs. Vertical Alterations!

!
(Horizontal)

a.

6
6

5 4

1
6

2 1

5 4

2 1

II

5 4

II

2 1

II

5 4

II

5 4

G, Bb, C#, E Dim

C7

F#7

D#7

A7

In example 17a. the diminished form horizontally inverts itself across 4 positions of one!
!
string group, (6543) using separate fingerings.
!

Adjacent String Groups

b.

(Vertical)
2 1

5 4

G, Bb, C#, E Dim

5 4

II

II

5 4

II

D7

G7b5

II

IX

!
Seen above, in example 17b., the same diminished form when transfered across adjacent !
!
string groups forms another two important siblings. The first is seen as a D7, this time also!
!
appearing as a "poly-chord" as well, ... D / B on the 5432 string group. The second form on!
!
the 4321 string group appears as a G7b5. What's interesting with this one is how when it's!
!
transfered to a 6432 group it reveals a vertical mirror image of itself upside down in the key!
!
of C#!
6 5 4 3 2 1
6 5 4 3 2 1
c.
!

G7b5

Db7b5 .... (C#7#11)

This of coarse suggests the consideration that due to their opposition the entire 12 tones !
!
are now divided into 6, (rightside up) and 6, (upside down) the root, and the tritone.