Of course, I wanted to draw attention back to what I was saying in the post that the comment refers to... I probably wasn't clear, and I apologize. I will try to say it better... the diminished chord that we can consider an extension of C7 is not Cdim but Edim, whose components are 3, 5, b7, and b9 of C. For this reason, the diminished scale should be referred to E and not C. And it is a H/W scale. No desire on my part to be polemical, anyway... I had the feeling that I had been misunderstood.
Yes, but for me thinking Cdim on C7 feels strange... If we are talking about C7, the diminished should be Edim, and therefore its scale would be the W/H.
Starting from C with a W/H or from E with a W/H is the same thing; in fact, the scale is the same, which is the scale formed by the notes of the two chords Cdim + Edim
For convenience, I prefer to count from the root using W/H, but it's a matter of point of view.
DrJellyfish wrote:
Let me explain: do you mean that Cdim7 with a W/H scale sounds like a C7?
No, you are right, if you play the Cdim7 chord, the dominant isn't really felt
I have often been told that Herbie Hancock uses diminished scales and chords a lot; it would be interesting to see what he does. Unfortunately, I don't know him very well; I find him too difficult and I haven't seriously approached his music yet.
Starting from C with an S/T or from E with a T/S is the same thing; in fact, the scale is the same, i.e., the scale formed by the notes of the two chords Cdim + Edim
For convenience, I prefer to count from the root S/T, but it's a matter of point of view.
true... and it's just a matter of terminology. Anyway, for me, the scale and its corresponding chord are a single object. That is, a diminished scale corresponds to a diminished chord... a Cdim scale corresponds to a Cdim chord, an Edim scale corresponds to an Edim chord. That's why I prefer to think of an E dim. scale, with its Edim chord, as the correct extension of C7, rather than a D dim. scale, understood only as a scale, superimposed on C7.
I have often been told that Herbie Hancock uses diminished scales and chords a lot; it would be interesting to see what he does. Unfortunately, I don't know him very well, I find him too difficult and I haven't seriously approached his music yet.
Oh yes, he uses them and he uses them well… Then again, Hancock is difficult for anyone
In the Stella by Starlight solo, at measure 15, Herbie replaces the Bb∆ with an Eo (or Bbo, depending on one's point of view).
He often uses S/T on seventh chords, uses diminished arpeggios with tensions, as in the Dolphin Dance solo, but the last chords of this piece are rather difficult to identify...
In the Stella by Starlight solo, at measure 15, Herbie replaces the Bb∆ with an Eo (or Bbo, depending on one's point of view).
He often uses S/T on seventh chords, uses diminished arpeggios with tensions, as in the Dolphin Dance solo, but the last chords of this piece are rather difficult to identify...
Stella 1.pdf
this solo is a masterpiece... of course, whoever put the guide tones in the transcription did their best to make HH's thinking obscure.
the first one is a V on I, Bb13/b9 on Eb, which in a simpler form has been found for a long time, at least since Bach onwards... the second one should be put into context, it could be many things.
