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Blues
C©mi7 (tritone sub) F©7 F7 F©dim C7/G
C% Bmi7¨5 E7 Ami7 C©mi7 (tritone sub) F©7
4
&4
C7
C7
F©13#11 F7
F7
B¨7 C7
C7
A¨mi7 Gmi7
Gmi7
F©7
C7
5 F©dim C7/G
F7 C+7 Fmi7 B¨7 Emi7 A7 E¨mi7 A¨7
& F7 C F7 Emi7 A+7

9 Dmi7 G7 A¨mi7 (tritone sub) D¨7 C7 E¨7 A¨7 D¨7

Dmi7 A¨13#11 G7 F7 Emi7 E¨mi7 Dmi7 D¨7
& Dmi7 G7 C7 A+7 Dmi7 G7

Given hat the half-whole diminished scale can be played on a altered dominant 7th chord,
and the scale repeats itself every minor third (C, Eflat, F#,A), you can play off of any one of these
key centers when playing blues in one of the same key centers. (example: C blues: play off of
Eflat, F#. or A blues) The connecting thread is the 1/2-W diminished scale. A minor third away
is the least dissonant, a maj. 6th away is the most dissonant.

A7 D7 A7 Emi7 A7
F©7 B7 F©7 C©mi7 F©7
13
E¨7 A¨7 E¨7 B¨mi7 E¨7
& C7 F7 C7 Gmi7 C7

D7 A7 C©mi7 F©+7
17 B7 F©7 A©mi7 D©7
A¨7 E¨7 Gmi7 C+7
& F7 C7 Emi7 A+7

Bmi7 E7 A7 F©+7 Bmi7 E7

G©mi7 C©7 F©7 D©7 G©mi7 C©7
21
Fmi7 B¨7 E¨7 C+7 Fmi7 B¨7
& Dmi7 G7 C7 A+7 Dmi7 G7

Play of the alternate key centers diatonically, pretending you are actually in that key. To make it more interesting , try to slip
in and out of the various key centers, returning to the original center as a means of resolution.