DIMINISHED 5 USTYTUTES: ae one oro t ¥ € Notice the similarity between G7-9 and Ab". Every 7-9 chord is (with root omitted) equivalent tora diminished chord one half-tep higher, That is, diminishedsounding seales may be applied to 7-9 chords, and vice-versa er Below is 4 common chord pattern. fn those chords Jing 7-9 substitutes for the diminished chord. Note use of 45 «s) os Erss0 Amis pne oo Gmat 1.095 Amit, Duce mss omar ras Amer pr-a+0 GmatlL NS ‘Thee more variations on the same pattern (G to Gi to Am7 10 D7). Note the use of A749 for Amt: « Basta anisto prsie io sy co be? Some 16th-note variations on the first two mibasures: se or? Amir 29eas cli lin nanan 1 In this study, E7 becomes Bm7~5/E7~9. This gets prety far away from the original “diminished” sound, but may be used with discretion: | o mites E7006) mitts) piso ' Amit Amines D159 Ss { CHORDAL THINKING “The chord shown above is Cm7~5, It is also Ebm6 or Ai9 with root omite. i ‘When playing a line against that chord you can THINK in. Cn fr think in Ab: (note Kev signature) = = Depending upon where the chord is progeesing, you can THINK in terms of what is most familar to you, Resolve CmT~5 to F7-9/Bim, Resolve A9 to D>, and Etm6 to Ab7/Db. 30 ce enHere isa fine “translated” from thinking in G to thinking in Ds. tn this particular example, thinking in Ds results in fewer accidentals, but that should not be your ONLY consideration, Think ia tems Of LOGICAL chord sequences: GT-5 t0 C, Dy7~$ to Gh. oe thee jehrte- Extend this chord scale to this: wtesbebetelt poss vo - s Spee ‘Two more examples. Try to play a chord with the melody, to help your appropriate chord: G to C, Dy to Gb. car, and resolve into an 0755-9 Doei-5)