Diminished Patterns

symmetric studies: diminished
chapter four
Patterns
On the CD the pattern will be played, there will be a pause, 4 beats, then played in
context except on Patterns 14-18 . You might notice that I ve used some of these
patterns in the exercises and etudes in the first 3 chapters.
Track 39
Pattern 1:
Pattern No. 1
Edim7
# b[C 7( b9)]
# #
#
& 44 J
11
T
A
B
12
In Context:
E bMAJ 7
b b
&
10
11
# b
#
#
9
Edim7
10
11
10
#.
F #dim7
Fmi7
E bMAJ 7
b n b b
# b b b
b n #
bw
T
A
B
70
10 7
8 11
10 11
12 8
10 11
7 8
8
9
10
10 9
10
8 7
9 10 6
9 5
Track 40
Pattern 2: Edim7
Pattern No. 2
C7(b9)
b b b b n
b b b n b b b
4
b n b b b n
& 4
8
T
A
B
11
11 9
10 8
11
11 9
10 8
11 9
11
10 8
11 7
10
10 8
9 7
10 6
U
w
n
b b b b n
&
T
A
B
b n n
b b b
3
In Context:
C7
F7
. b
J J
& J
. b n
J
T
A
B
11
F #dim7
10 10
10
C7
10
Dmi7
10
10
A7(b9)
b b n
b n
& b b b # n
C7(b9)
T
A
B
b b b b b

J
F #dim7
F7
C7
10
C7
G7(b9)
&
T
A
B
n
w
71
Track 41
Pattern 3:
Pattern No. 3
Edim7
C7(b9)
b b
4
& 4
8
T
A
B
11 10 11 10
# # #
7
b b
11
10 11 10
10
& # #
#
T
A
B
10
In Context:
F7
w
3
B b7 Bdim7
F7
F7(b9)
b . b b
b b b
b
J
&
T
A
B
5
5
B b7
Bdim7
F7
& b b
n b b b n b n b n b b n b
T
A
B
D7(b9)
T
A
B
Gmi7
& b # n
72
C7(b9)
F7
.
# w
J

Track 42
Pattern 4:
Pattern No. 4
Edim7
C7(b9)
3
b b
4
b
& 4 b j b b b
3
3
3
3
T
A
B
b b
&
T
A
B
12 9
10
10
10
11
11
11
11
11
11

b b
U
b b b
bw
9
11 8
In Context:
Dmi7
11 8
11 8
10
C #dim7
Dmi7
11 8
10 7
C #dim7
Cmi7
3
b
j
. b b
&
3
T
A
B
7 8
Dmi7
7 8
8 5 8
C #dim7
Dmi7
. J
&
T
A
B
8 5 8
8 7
C #dim7
Cmi7
b
U
b b b b
bw
6
8 5
8 5
5
8
8 5
8 5
73
Track 43
Pattern 5: Ddim7
4
& 4
T
A
B
Pattern No. 5
B b7(b9)
b A
A
b

7
5
9
6
13 10
10 13
7
10
13
13
10 7
& b
T
A
B
4
8
bw
In Context:
B b7
E b7
Edim7
B b7
B b7(b9)
. #
b
J
& b
3
T
A
B
E b7
10
7
10
B b7
Edim7
b
b n b
& b
6
9
G7(b9)
b . b

J
b b
T
A
B
4
5
8
5
9
6
10
10
7
7
b B. 7
F7(b9)
B b7
b
b b.
b
b b
U
b . . J b
J
b
w
& . J
b b
Cmi7
T
A
B
74
8
10
F7(b9)
8 11
10
10
14
11 14
13
11 15
13
10
7
10 7
5
9
7
8
A pattern using 4 triads. See chapter 2: Triads and Triad pairs.

Track 44
Pattern No. 6
C #dim7 C7(b9)
Pattern 6:
b b b b
b b b b #
T
A
B
Eb
Gb
6
Gb
# b b b n E b b
b n
13
13 14
12
10 11
In Context:
C7
7 8
11
8
10 11
F7
12
11
11
Eb
14
14
b b b n b n
w
8 11
C7
11
Gb
&
T
A
B
4
& 4
Gb
Eb
9 10
Gb
Eb
C7(b9)
7 10
b . b j
b #
b
& b

j b
b
.
3
C
3
T
A
B
8 5 8
F7
8 5 8 5
F #dim7
B
Ab
5
8
C7
8 5
6
9
8 7
A7(b9)
3
3
#
j
b
b n # b # n
& J
T
A
B
G7(b9)
Dmi7
Bb
Db
6
7
C7
j b b b # n
.
&
3
T
A
B
U
w
7
9
10
12
12
13
75
Another pattern using 4 triads. These patterns will work well on the last two bars
of Joe Henderson s song Isotope. Pattern 7 is easiest to play when moving vertically
up the fretboard.
Track 45
Pattern No. 7
Pattern 7: C #dim7
C7(b9)
b b w
b
4
& 4 b b b b
T
A
B
11 10 7
10
12 11
13
b n # b b b n
U
b
b n
&
b b n
w
T
A
B
11 12
13
10
9
11
10
11
8 11
8
10
5
8
In Context:
C7
&
T
A
B
b b b
3
b b
b
3
b n b
b b b n
D7

b b b n b b
b b b
b
& b
T
A
B
5
7
E7
b U
b n b b b n

w
b
b
b

b
&
b
76
T
A
B
7
9
6 9
6
8
7 9
6
4
6 5
5
2
9 8
5
This is a really beautiful sound. You might want to listen to Kurt Rosenwinkel on
East Coast Love Affair at 7:32 on the great CD East Coast Love Affair on Fresh
Sound/New Talent records. He does something very similar.
Track 46 8 Pattern No. 8
C #dim7 C7(b9)
Pattern 8:
3
3
4
& 4
b b
T
A
B
10
b
b
12 11
14
11
11 10
In Context:
F7
b b
5 7
8
B b7
b
&
T
A
B
8 6 8
8 7
10
Bdim7
6
6
10
b b
5
11
5
8
F7(b9)
10
b b
11
10
10
10
10
10
11
n
7
5
6
3
n
b
#
13
D7(b9)
b
8
F7
n b . b n b b b
b
J
b.
J
F7
b
& b
7
14
10

T
A
B
14
B b7
11
14
14
3
b
&
T
A
B
11
11
10
b b b n
b
7
b3 b b .
b
J
10
4
4
Gmi7
C7(b9)
F7
C7(b9)
F7
b
.
b b b
# J b
U
b
w
&
T
A
B
7 8
5 6
5
5
8
8
11
11 9
10 11 10 8
7
7
8
9
11 10 8
77
Check out John Scofield on Whip the Mule @ 1:36. Scofield has played this pattern
on other recordings as well but Whip the Mule is from Hand Jive which should be in
everyone s music collection.
Track 47
Pattern 9:
4
& 4
T
A
B
Pattern No. 9
C #dim7
C7(b9)
b b b b b
b
b b b n
b
b b b n
3
4
6
5
7
10
11
11
11 8
11
10 7
b b U
b
b b b b n
&
b b
b b b b n
T
A
B
In Context:
E bMAJ 7
7 10
8 11
11
Fmi7
F dim7
. n Edim7
n
bb b
J n # # b n n #
&
T
A
B
bb
& b
6
10
A bMAJ 7
E bMAJ7 .
T
A
B
78
10
. . J
J
11
10
10 8
11
#. n
# n
J
10
B b7(b9)
8 10
11
E bMAJ 7
C7(b9)
U
bb b n n n w
& b
T
A
B
Gmi7(b5)
Fmi7
n n #
#
11
11
10
11
11
Track 48
Pattern 10:
Pattern No. 10
C #dim7 C7(b9)
3
b
3
3
b
4
b
& 4 3 b b b b n b b
b
T
A
B
1
3
8 11
11
3 b 3 b 3
3
3
U
b b 3 3 b 3
b
&
b b b b w
T
A
B
8 11 10
Variation:
A13sus(b9)
b b b b
b b n
b b
&
b b b n
b
T
A
B
b b
&
T
A
B
8 11
11 8
11
11 8
10
b b
b b b
b
b b b b n b
5
b b b b b b b n
b
b n b b b
b
&
T
A
B
6 5
10 8
11 9 8
11 10
9 11 5
6 8
5
8
& b b n b n b
T
A
B
b b b
3
w
79
Track 49
Pattern No. 11
#
Pattern 11: C dim7 C7(b9)
4
& 4
b
b b bb n
T
A
B
2 5
4 6
4 2
5 7
4 7
8 10
7 10
9 11 14 12
b b b
b b n b b b
b b n b
b
n
&
T
A
B
b b n
b
b
b b n b n
b
b b
9 11 8
13
In Context:
11
8 10
11 8
B b7
F7
10 7
8 5
5 7
F7
b
b .
4
8 5
F7(b9)
b b b
j . . j

b J J n J J
&
b
T
A
B
B b7
& j b . b
Bdim7
F7
b b
D7(b9)
b b b
b
T
A
B
5
8
Gmi7
C7(b9)
F7
10
C7(b9)
F7
j . b b b n b b . b b
b b n
b
&
b
J
T
A
B
80
4 7
U
w
Track 50
Pattern No. 12
#
b b b
4
b b
& 4
T
A
B
4 7
8 7
6 9
5 8
8 11
b b b b n b
U
b
b n b b b
&
b n b b b n
T
A
B
9 12 8
10
11
11
10
In Context:
B b7
10
E b7
7 8
B b7
B b7(b9)
b b
b b j
&
b b b
J
T
A
B
E b7
b b
Cmi7
B b7
Edim7
b b .
b
&
J
T
A
B
G7(b9)
j
b b b b b
B b7
F7(b9)
B b7
F7(b9)
b b b . J b b n b b U
b
w
&
T
A
B
8 5 8
6 8
6 7
7 10
7 8
10
11
81
Track 51
Pattern No. 13
#
b b n b b b
b
b
b b n
4
& 4 b b n b b b n b b
T
A
B
10
11
11
12
U
b b b
b b b b b
&
b b b b b
b
T
A
B
13 11
12
10
11
In Context:
8
9
11
10
Ami7(b5) Dmi7(b5)
Cmi7
10
G7(b9)
10
10
Dmi7(b5)
G7(b9)
b b b
Cmi7Ami7(b5)
. J
& b b J . b b n
T
A
B
10
12
13
11
12
10
Cmi7 Ami7(b5) Dmi7(b5) G7(b9)

Ami7(b5) Dmi7(b5)
G7(b9)
Cmi7
Ami7(b5)
.
b
b b b n b
b . . j
J
&
J
Cmi7
T
A
B
8 10 7
9 5
10
Cmi7
Dmi7(b5) G7(b9)
Cmi7
Ami7(b5) Dmi7(b5)
G7(b9)
U
w
b
3
3
. b b n b
& b b n
J
3
3
3
T
A
B
82
10
10
10 7
11
10
10
Track 52
Pattern 14
Pattern No s. 14-16
C #dim7
C7(b9)
b n b b b
b
b n b b b b
& 44
b b b n
T
A
B
b b
&
T
A
B
11 10
8 6
10
8 7
9 8
7 5
65
8 7
8 5
4 7
b b n
b b n
& b b n b b
b
4
11
10
b bbnb b b
b b b
b n b b b b
Pattern 15
T
A
B
8
7
10
8
10
7 4 3
6 5
b n
b b b
7 6
11
11
9
11
11
12
12
b b b b
b b b b b b b
&
b b b w
T
A
B
12
12
11
11 9
9
11
11
10 8
8
9
10
Pattern 16
6
7
8
9
3
3
6
6
10
9
9
8
7
6
6
b
b b
b b
& b b b b
T
A
B
7 5
12
8 11
11 14
11
b
U
b b n b n
b
b b
&
# b b n A b
T
A
B
11
11
12
14
11
8
7
6
6
5 2
83
Track 53
Pattern No. 17 & 18
C #dim7
Pattern 17
C7(b9)
b n b
4
b b b
b
b
& 4
b b b
T
A
B
4 2
2 0
9 0
b b b
b b n b b n
b
&
b b b b
T
A
B
11
12
9
9
Pattern 18
5
5
6
7
3
6
b b n b
b b n
b
& b # b #
T
A
B
8 10
11
10
11
12
3
3
b n b b n b b
3
b
& 3
b n b n b
b w
3
3
3
T
A
B
Pattern 18
11
Bill Evans:
8
7
Sweet and Lovely
5
5
from
Explorations
b
b
b n
b
& b b n b n
T
A
B
b n
7
4
3
3
10
11
8
3
5
b n
b
b
3
14
11
12
b
& b
b n
b
b n
b n
b
b
84
T
A
B
8
5
10
7
7
4
8
6
5
3
7
5
4
2
11
Wes Montgomery was fond of using diminished chords as approaches to other

chords or just up or down the diminished scale specifically Missile Blues @ 4:56 or any
of his improvised chordal solos . These diminished chords work well as an approach to
the turnaround in a 12 bar blues.
Track 54
Diminished chords
2fr.
C7
C7
4
& 4 b
T
A
B
G7
3fr.
T
A
B
5
3
5
4
6fr.
5fr.
& #
#
G7
#
n b
# n #
7
5
7
6
8
6
8
7
4fr.
Ami11
4
2
4
3
11fr.
8fr.
n #
#
#
#
5
4
5
4
6
5
6
5
8
7
8
7
9
8
9
8
12
11
12
11
D7
7fr.
3fr.
6fr.
2fr.
5fr.
2fr.
1324
3fr.
Ami7
&
#
#
10
8
9
7
7
5
5
5
8
7
8
7
T
A
B
7fr.
5fr.
7fr.
5fr.
j
b
#
n
4
3
4
3
n
#
7
6
7
6
b
b b
n
n
5
5
5
5
3
2
3
2
3
2
3
2
6
5
6
5
3
3
4
3
G7
b
&
T
A
B
85
&
10
7
8
5
9
5
Montgomery-style
7
5
8
7
8
pattern
7
Track 55
G7
8
Chords
7fr.
T
A
B
6
5
6
5
86
7
6
7
6
9
7
9
8
9
8
9
8
n
b
n
10
9
10
9
8
8
8
7
Turnaround
Dmi7
D b7(#11)
G7
10fr.
7fr.
F7
6
4
6
5
on the
of
Fried Pies around 5:48.
9fr.
b b n
6 5b 3
b b 5
6
5
6
5
Track 56
8fr.
10fr.
7fr.
b b
12
10
10
10
9
8
9
8
10
10
10
10
8
7
8
7
7
6
7
6
9
7
9
8
C6
4fr.
7fr.
6fr.
4
& 4
T
A
B
8fr.
4fr.
T
.
4 A
& b 4 b ...B
5
7
5
6
5
7
sIV 6diminished
5
6fr.
3Bdim7
6
b
b
&
B b7
4
3
4
work
3
T
This chordal
would
A
blues. You might
B want to listen to Wes Montgomery on
b
6
4
6
4
ww
ww
3
1
3
2
1
2
2
3
ww
ww
8
8
8
7
3
2
a 32

Diminished Patterns

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Diminished Patterns

Uploaded by

Copyright:

Available Formats

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

A pattern using 4 triads. See chapter 2: Triads and Triad pairs.

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

symmetric studies: diminished

Cmi7 Ami7(b5) Dmi7(b5) G7(b9)

symmetric studies: diminished

symmetric studies: diminished

Pattern No. 17 & 18

Sweet and Lovely

symmetric studies: diminished

Wes Montgomery was fond of using diminished chords as approaches to other

symmetric studies: diminished

You might also like