Eric Alexander

Eric Alexander
Improvising with the

Diminished Scale
PAGE 1 OF 60

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EricAlexanderJazz.com
ERIC ALEXANDER

IMPROVISING WITH THE DIMINISHED SCALE
The author represents and warrants that he both owns and has the legal right to publish all material
in this book.
Improvising with the Diminished Scale
All Rights Reserved.
Copyright ©2012 Eric Alexander
Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com
1.2 121812
This book may not be reproduced, transmitted, or stored in whole or in part by any means, including
graphic, electronic, or mechanical without the express written consent of the publisher except
in the case of brief quotations embodied in critical articles and reviews.
http://www.ericalexanderjazz.com
PAGE 2 OF 60 ERICALEXANDERJAZZ.COM ©2012

ERIC ALEXANDER

Preface
I’ve often said that if I could have only one harmonic concept to work with for the next ten years I would have to pick the diminished
scale. Both for it’s built-in harmonic precision and for the multitude of sounds that one can generate with it if one understands how to
use it properly. In this ebook, I will show players how I like to think about the scale in terms of resolutions in ii-V settings and also
how, by it’s construction, the diminished scale is easily transposed and applied to all twelve keys. As you will see in this book, the
diminished scale perfectly outlines the tritone relationship between two sets of chord progressions, which is one of the most important,
if not THE most important, concept in modern jazz harmony.
If you’d like to explore this material further with me, I'm available for one-on-one online lessons via Skype and can be contacted
directly for live performances, clinics and workshops.
Eric
ericalexanderjazz@gmail.com

ERIC ALEXANDER

Table of Contents
Spelling Diminished Scales
6
Use Tritone Relationships
6
Diminished Scales Are Symmetric

8
Exercise 1 Build the diminished scale in all 12 keys

9
Exercise 2 Play the diminished scale in all 12 keys

16
Improvising with the Diminished Scale

17
Applying the Diminished Scale to ii-V Progressions
17
Diminished Scales for Sequential ii-Vs

19
Exercise 3 Play the diminished scale over “Tune Up”

22
Diminished Scales in the Blues Progression

23
Exercise 4 Play the diminished scale over the Blues

27
Exploring the Diminished Scale

28
Answer Keys
29
Blues solo chorus 1 in C
48

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49

50
Blues solo chorus 1 in Eb

51

52

53
Tune Up chorus 1 in C
54
55
56
Tune Up chorus 1 solo in Eb

57

58

59
Study Jazz Improv Online with Eric

60
Online Lessons Available at EricAlexanderJazz.com
60

ERIC ALEXANDER

Spelling Diminished Scales

Use Tritone Relationships
It is best to think of tritone relationships to identify diminished scales. To find the C7 diminished scale, for example, think of the first
four notes of the C7 mixolydian scale, descending, then the first four notes of the mixolydian scale a tritone away from C7, F#7,
descending, as in figure 1.
Figure 1
We can find the same scale in ascending form if we start on the root of the related ii minor chord and play the first four notes
of it’s dorian scale followed by the first four notes of the dorian scale a tritone away as in figure 2.
Figure 2

ERIC ALEXANDER

We could actually give the chord progression | G-7 C7 C#-7 F#7 | to both the ascending and descending versions of the
scale as in figure 3.
Figure 3
It is important, when descending, to think of the two dominant 7th chords, and when ascending, the two minor 7th chords. Also
notice that by just playing the scale for one octave up or down, you’ll get a great resolution to F (major or minor).

ERIC ALEXANDER

Diminished Scales Are Symmetric

Because of the repeating series of intervals in the diminished scale (whole and half steps), this scale is referred to as symmetric. See
figure 4.
Figure 4
The consistent series of intervals limits the number of times the scale can be transposed into different keys. Because of this, symmetric
scales are often called scales of limited transposition. The benefit is that there are only three different diminished scales and each scale
works over four keys. So to use the scale for all twelve keys you only have to learn three different scales.
In figure 5, each succeeding scale starts on the minor third above the root (the second to the last note of the previous scale) and uses the
same notes. Effectively, the notes of the C7 diminished scale will work over Eb7, Gb7 and A7.
Figure 5

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Exercise 1 Build the diminished scale in all 12 keys
1. The ascending diminished scale for the major ii-7 V7 Imaj7 progression in F is written out for you in the first measure on the staves
on page 10.
2. On measure 5, write the diminished scale, ascending in eighth notes, for the major ii-7 V7 progression a minor third above the first.
Write this out again in measure 7. In measure 9 do the same for the progression a minor third above that and then again a minor
third above that in measure 13. Chord symbols are provided for you.
3. Compare your answers to the answer key at the back of the ebook.
4. After comparing your answers with the answer key, write out the remaining scales starting on Gb and ascending in minor 3rds on
pages 11 and starting on G and ascending in minor 3rds on page 12.
5. Write out the descending diminished scales in the same way starting on page 13. The first scale has been done for you.

ERIC ALEXANDER

Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

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Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

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Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

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Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

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Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

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Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

ERIC ALEXANDER

Exercise 2 Play the diminished scale in all 12 keys
1. While reading the scales that you wrote out in exercise 1, play the scales with the companion playalong file. NOTE: The scales you
wrote out are in Bb concert. If your instrument is in Bb you can read the scales that you wrote out. If your instrument is in C or
Eb, you can either sight transpose the scales for your instrument as you play them, read the transposed scales in the answer key or
print out additional copies of the writing exercise (pages 10-15) and write the scales for your instrument.
2. Choose a set of scales to work on and open the corresponding playalong file in Band-in-a-Box, or a music player of your choice
(Playalongs are provided in Band-in-a-Box and M4a formats).
3. For example, to work on the F/Ab/B/D diminished scales in Bb on page 10, open the Eb/Gb/A/C diminished scale playalong file
found in the playalongs folder in your Improvising with Diminished Scales download folder.
4. The playalong will play four choruses of each exercise.
5. As you play the scales, memorize the notes and the sound of each scale. Try to wean yourself off of reading the scales as soon as
possible. As you memorize the scales, start to improvise with them by just playing fragments of the scale, by extending/shortening
the rhythm of each note; inverting the octave of the notes, etc. and generally messing with them to create interesting lines.

ERIC ALEXANDER

Improvising with the Diminished

Scale
Applying the Diminished Scale to ii-V Progressions
Over a ii-V in F major, you might play something like figure 7. Note: this could also cadence to a minor I chord.
Figure 7
You can use this way of thinking coming from the ii-7 chord as well. In figure 8, C#-7 scale is played over the C7 chord.
Figure 8
This is the best way to think of diminished because you always teach yourself to feel | G-7 C7 | C#- F#7 |.

ERIC ALEXANDER

Once you have the tritone relationship in your mind, you can leave the diminished scale and just play tritone transpositions for
resolutions, like in figure 9. I’m just taking simple melodies and playing their exact transpositions for the tritone changes!
Figure 9
If you have that tritone progression in mind you can begin to play any type of idea over each change. It’s not essential to play exact
transpositions. In fact, one might completely ignore the original chord progression and only solo over the tritone ii-V7 to get to the 1
chord. It’s really about as far “out” as you can get- you just need to make sure that you resolve in a meaningful way.

ERIC ALEXANDER

Diminished Scales for Sequential ii-Vs

Diminished scales can generate interesting sounds when used in any progression. In figure 8, I used the diminished scale to improvise
over the changes to “Tune Up.” This is a perfect tune for trying out two bar resolutions because of the repetitive nature of the
progression. Then again, there are so many tunes that we play that give us opportunities like this it’s pointless to even begin
mentioning them!
Figure 10 - Transcription of chorus 1 of “Tune Up” using the diminished scale

Phrase #1 is the diminished scale descending from the root of the V7 chord to resolution. Phrase #2 is a sequence of the first four notes
of the phrase moved in minor 3rds through the scale until resolution. Phrase #3 is a sequence of the first two notes moved up in minor
3rds until resolution.

ERIC ALEXANDER


Phrase #4 is the diminished scale ascending from the root of the ii-7 chord until resolution. Phrase #5 is a sequence of a simple idea
(first four eighth notes) to the tritone ii-7 V7 to get to resolution of Dmaj7. Phrase #6 is a sequence of the initial three note pattern
moved down in minor 3rds until resolution. Note the syncopation of this line.

ERIC ALEXANDER


Phrase #7 is a sequence of the initial four note pattern starting on the root of the V7 chord moved in minor 3rds until resolution.
Phrase #8 is the same as #7 but ascending and starting on the 9th of the ii-7 chord. Phrase #9 is a sequence of the initial four note
pattern moved in minor 3rds. Phrase #10 is a pattern based on the ascending diminished scale with a lower neighbor tone.
This solo was recorded at a sound check in Nagoya, Japan in April of 2012.
http://youtu.be/urpW5Xpubdk

ERIC ALEXANDER

Exercise 3 Play the diminished scale over “Tune Up”
1. Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 10-12 or read the transposed
solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your
head and hands.
2. Practice all the hi-lighted phrases for each resolution in all 12 keys!

ERIC ALEXANDER

Diminished Scales in the Blues Progression

Diminished scales can generate interesting sounds when used in the blues progression.
Figure 5 - Transcription of Chorus 1 of a blues chorus using the diminished scale

Phrase #1 is a four note sequence using the upper neighbor then descending. Phrase #2 is F#º going to C and can also become a
longer phrase by adding the first four notes of the descending diminished scale as in figure 5a and move up in minor thirds in each
measure.
Figure 5a
Phrase #3 uses the lower neighbor tone then ascends. Phrase #4 is a sequence of the initial four note pattern down a minor 3rd with
the last note serving as a chromatic approach to the succeeding four note group. Phrase #5 is a four note phrase composed of
descending perfect 4ths sequenced in minor 3rds. Phrase #6 is a four note group sequenced in minor 3rds. Phrase #7 is a variation of
figure 5b which can be sequenced in minor 3rds.

ERIC ALEXANDER

Figure 5b

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Figure 6 - Transcription of Chorus 2 of a blues using the diminished scale

Phrase #8 and 9 are also variations of figure 5b which too can be sequenced in minor 3rds. Phrase #10 is a variation of #5. I changed
the direction of some of the intervals. See figure 6a.
Figure 6a
Phrase#11 and 12 are made up of the initial four note pattern sequenced in minor 3rds.

ERIC ALEXANDER

Figure 7 - Transcription of Chorus 3 of a blues chorus using the diminished scale

The first four notes of phrase #13 are an inverted triad of the chord of the moment followed by four notes of the inverted triad a tritone
away and then the idea is moved down in minor thirds. Phrase #14 is the same as phrase #3. Phrase #15 is a pattern of pairs of
ascending major 3rds sequenced in ascending minor 3rds. Phrase #16 is a one octave run of diminished scale ascending starting on the
root of the ii-7 chord.
This solo was recorded with Mike LeDonne and Joe Farnsworth at Smoke in NYC on September 12, 2012.
http://youtu.be/9bLzX9AaDng

ERIC ALEXANDER

Exercise 4 Play the diminished scale over the Blues
1. Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 5-7 or read the transposed
solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your
head and hands.
Of course, the blues is loaded with spots to employ the diminished scale. The first and most obvious is over the movement from
the IV7 chord back to the I7 chord, where very often we use the #IV dimished chord to bring us back home. This is really a form
of what classical players refer to as the “embellishing” diminished sound. It is not a v7-1 movement and it is actually a topic for
another day. Suffice it to say (for now) that in these spots one should use the scale appropriate for C dim7, Eb dim7, F#dim7, and
A dim7 chords- that is, the diminished scale that starts with a whole step and begins on any of those notes.
Of greater importance, with regard to what we have been working on in this book, is the idea that we can employ the diminished
scale any time we have a V7 to I (or i) movement. This happens in at least three spots (not including the turnaround) in a basic jazz
blues progression. In these three choruses, I employed the diminished scale as much as I could in a short period of time, using a
variety of different techniques.

ERIC ALEXANDER

Exploring the Diminished Scale

Each hi-lighted phrase from the two solos should be taken through all 12 keys. Students would be wise to come up with their own
variations on these ideas. Changing a note or direction of interval here and there can reveal a massive amount of new ideas.

ERIC ALEXANDER

Answer Keys

ERIC ALEXANDER

Ascending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C

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Ascending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb, Db - C

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Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and Db - C

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Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

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Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

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Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

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Ascending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb

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Ascending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb

ERIC ALEXANDER

Ascending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb

ERIC ALEXANDER

Descending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C

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Descending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb and Db - C

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Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - C

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Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

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Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

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Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

ERIC ALEXANDER

Descending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb

ERIC ALEXANDER

Descending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb

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Descending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb

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Study Jazz Improv Online with Eric

Online Lessons Available at EricAlexanderJazz.com
If you would like to explore the material in this book or any aspect of jazz improvisation with me personally, I offer one-on-one lessons
online via Skype at my website: EricAlexanderJazz.com.
I am happy to work with beginners through advanced professional players. Here are some common areas that I work on with my
students: technique (fingering, embrochure, sound production, altissimo, vibrato, intonation, mouthpiece & reed choice), all aspects
of improvisation, chordscale theory, composition, repertoire development, rhythmic concepts.
Please email with any questions you may have. I’d love to hear from you.
Eric
ericalexanderjazz@gmail.com

Eric Alexander - Improvising With The Diminished Scale (2012)

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Improvising with the

Improvising with the Diminished Scale

All Rights Reserved.

Copyright ©2012 Eric Alexander

Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com

PAGE 2 OF 60 ERICALEXANDERJAZZ.COM ©2012

PAGE 3 OF 60 ERICALEXANDERJAZZ.COM ©2012

Diminished Scales Are Symmetric

Exercise 1 Build the diminished scale in all 12 keys

Exercise 2 Play the diminished scale in all 12 keys

Improvising with the Diminished Scale

Diminished Scales for Sequential ii-Vs

Exercise 3 Play the diminished scale over “Tune Up”

Diminished Scales in the Blues Progression

Exercise 4 Play the diminished scale over the Blues

Exploring the Diminished Scale

PAGE 4 OF 60 ERICALEXANDERJAZZ.COM ©2012

Blues solo chorus 2 in C

Blues solo chorus 3 in C

Blues solo chorus 1 in Eb

Blues solo chorus 2 in Eb

Blues solo chorus 3 in Eb

Tune Up chorus 1 solo in Eb

Tune Up chorus 2 solo in Eb

Tune Up chorus 3 solo in Eb

Study Jazz Improv Online with Eric

PAGE 5 OF 60 ERICALEXANDERJAZZ.COM ©2012

Spelling Diminished Scales

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PAGE 7 OF 60 ERICALEXANDERJAZZ.COM ©2012

Diminished Scales Are Symmetric

PAGE 8 OF 60 ERICALEXANDERJAZZ.COM ©2012

Exercise 1 Build the diminished scale in all 12 keys

PAGE 9 OF 60 ERICALEXANDERJAZZ.COM ©2012

Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

PAGE 10 OF 60 ERICALEXANDERJAZZ.COM ©2012

Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

PAGE 11 OF 60 ERICALEXANDERJAZZ.COM ©2012

Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

PAGE 12 OF 60 ERICALEXANDERJAZZ.COM ©2012

Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb

PAGE 13 OF 60 ERICALEXANDERJAZZ.COM ©2012

Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb

PAGE 14 OF 60 ERICALEXANDERJAZZ.COM ©2012

Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb

PAGE 15 OF 60 ERICALEXANDERJAZZ.COM ©2012

Exercise 2 Play the diminished scale in all 12 keys

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Improvising with the Diminished

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PAGE 18 OF 60 ERICALEXANDERJAZZ.COM ©2012

Diminished Scales for Sequential ii-Vs

Figure 10 - Transcription of chorus 1 of “Tune Up” using the diminished scale

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Figure 11 - Transcription of chorus 2 of “Tune Up” using the diminished scale

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Figure 12 - Transcription of chorus 3 of “Tune Up” using the diminished scale

PAGE 21 OF 60 ERICALEXANDERJAZZ.COM ©2012

Exercise 3 Play the diminished scale over “Tune Up”

PAGE 22 OF 60 ERICALEXANDERJAZZ.COM ©2012

Diminished Scales in the Blues Progression

Figure 5 - Transcription of Chorus 1 of a blues chorus using the diminished scale