Several of you have asked me about the use
of diminished scales in 2 5 1's.
Of course, all of these things
are organic parts of jazz improvisation,
it's kind of hard to take a piece
apart and put it on the slide and
look at it under a microscope.
But I'll try to do that for you.
Because I've done some 2, 5, 1 units.
And of course you can play
them in scales over them.
But I'm going to specifically play some
diminished scale patterns over a 2, 5, 1.
Now the 2's that fit and
the 5's that fit are fairly specific, for
example, [SOUND] I'm gonna use what's
called the half diminished chord for
the first one, which is [SOUND].
It's a minor 7 with a flat 5 as the 2.
And then as the 5, I'm gonna use
a 13th chord with a flat 9th.
Because this intersects with
the diminished scale and
you can look at the other units about it.
For example, here's a 2, 5.
Just played slowly.
I'm just gonna play 4 notes with the 2 and
4 notes with the 5.
Starting on the G the 6th
hole blow, which is
it sounds like you're
just playing a scale.
But it is whole step,
half step whole step and then half step,
half step whole step half step.
It's diminished scale.
And it fits melodically with those
chords or I could play it going up.
Or I could
break the scale
that's one of
the patterns that's
in the other unit.
You can now see how it goes with the 2, 5.
That's kinda like
playing the major scale going
but now I'm doing it with the diminished
I started it out on the pickup beat.
1, 2, 3, 4.
1, 2, 3, 4.
Ending on the major 7.
So again, the same chords.
And you hear these are jazz harmonies that
if you listen to jazz,
you've heard these many times, but
maybe you haven't ever tried playing these
type of diminished patterns in a solo,
although you've heard other
people play them in a solo.
So here's one going down.
I played the wrong
voicing with the chord but.
I just played 4 notes for each one now.
That's more six eight.
So if you analyze this thing.
of the D chord
the 4th or the 11th.
The 9th or the minor 3rd.
really fit with it.
I made a mistake so its
instead of 2, 5, 1, that would be a 5, 1.
Jazz musicians also like
to sometimes end on the Lydian.
This is just a little peek of something
I wanna do a little bit later.
Listen to what happens if
I end on the sharp 4th
instead of that
and that's a sound that started coming
into jazz in the late 50's and 60's.
Where people ended it soon.
It leaves you sort of hanging.
It's incorporating the Lydian
mode into jazz harmony.
Which I haven't done really in
any of the other lessons yet.
So I prerecorded a little bit of a track
here, and I'll just play along with it.
just a few