7The tritone, the family and the diminished

Also called Into the tritone, Barry’s tritone rule, tritone rule, tritone substitute, flat five dominant, play outside with the tritone, tritone sub, tritone substitution

Where Chris teaches it

1. 1:47Movements in the first four bars of the blues · Episode 7
   Blues bars 1-4: C7, F7, C7, then F sharp 7 into F7.
2. 9:44Movements in the first four bars of the blues · Episode 7
   A whole class hour on running C7 into F sharp 7.
3. 6:24Scales for Donna Lee · Episode 9
   Donna Lee: A flat into B7, the tritone of F7; A is the third of F and the flat 7 of B.
4. 11:56The bridge of Cherokee and tricky spots · Episode 11
   Cherokee: F sharp 7 brings in its tritone C7.
5. 12:13First 4 Bars of I Got Rhythm · Episode 20
   Rhythm changes: B7 instead of F7; C sharp 7 instead of G7.
6. 6:59Soloing on Dominants · Episode 22
   Rhythm bridge: D7 into A flat 7, thinking both scales.
7. 10:20Major Scale Half-Step Rules · Episode 25
   G sharp over C7 heard as the second of F sharp 7.
8. 4:47Chords in the Major Scale · Episode 26
   D minor 7 going to D flat 7, G7’s tritone.
9. 8:53Creating lines on a minor II-V · Episode 38
   E7’s tritone is B flat 7: the third of E is the flat seventh of B flat, and the flat seventh of E is the third of B flat.
10. 9:27Creating lines on a minor II-V · Episode 38
    G7 run into B flat 7, resolving to A minor.
11. 8:07A very important arpeggio · Episode 52
    D7 is also the tritone of A flat 7, so the same lines must resolve to D flat major.
12. 9:10Yet Another Very Important Arpeggio · Episode 53
    D7 going to D flat major, as in Body and Soul.
13. 4:24Don’t Think 2-5, Just Think 5 · Episode 57
    Rule: any dominant going home a fourth higher, to major, minor or dominant, can take its tritone; F7’s is B7.
14. 5:02Don’t Think 2-5, Just Think 5 · Episode 57
    The thirds and sevenths flip-flop, so F7’s material works on B7.
15. 9:57Middle of a blues: bars 5 to 8 · Episode 58
    In a C blues, the tritone of A7 is E flat 7: C major running into E flat 7.
16. 6:07Playing with the family of dominants on All the Things You Are · Episode 59
    F7 into A flat 7, D7’s tritone and a family member.
17. 3:07Lines Using Drop 2 on Rhythm Changes · Episode 68
    Rhythm changes: F7’s tritone B7, B flat 7’s tritone E7.
18. 0:00The Tritone · Episode 77
    A tritone is three whole steps away; it is part of the family and shares the third and seventh.
19. 0:43The Tritone · Episode 77
    B flat 7 to E flat (7, major or minor) can use E7; B flat 7 going to C major cannot.
20. 10:44Don’t Learn Target Notes; Barry’s Beautiful Chromatic Scale · Episode 80
    To play outside, run F7 into its tritone B7 over C minor
21. 4:32Don’t Think C9 · Episode 81
    C blues: C’s tritone F#7, played as Db minor 6
22. 8:52Barry’s scale outline for a C minor blues · Episode 85
    F#7 instead of Eb7 down to the third of C, running into F minor 6
23. 4:45A Minor 7 Flat 5 Is Beautiful · Episode 86
    Ending the A half diminished on D7’s tritone, Ab7
24. 7:05Don’t Be Bored of the Blues · Episode 91
    Bb7’s tritone E7 into Eb7 in bars 1-2 of a blues
25. 3:32Scales on the blues revisited, with tritones · Episode 100
    Tritone is three whole steps: C7 up, F#7 up in bars 3-4
26. 6:25Scales on the blues revisited, with tritones · Episode 100
    A7’s tritone Eb7 after C major; G7’s tritone Db7
27. 1:24Do You Know Rhythm Changes? · Episode 101
    Rhythm changes: Bb, B7, Bb, F7; then B7 over the whole first part
28. 14:22Do You Know Rhythm Changes? · Episode 101
    G7’s tritone Db7: a chord down from the second of Db
29. 9:35What almost everyone gets wrong about Barry’s harmony · Episode 151
    G7’s tritone, Db7, comes from the same diminished
30. 6:31Barry’s secret to playing through changes · Episode 153
    The rule: a dominant going home a fourth higher can use its tritone; Bb7 to Eb7 becomes E7
31. 9:09Barry’s secret to playing through changes · Episode 153
    Blues outline with the tritone: Bb7 up, Eb7 up, Bb7 up, E7 up, into Eb7
32. 2:13Ways to play the first four bars of the blues · Episode 160
    Going home to Eb can mean Eb major, minor or 7; guitarists already play Bb7 to E7
33. 2:46Ways to play the first four bars of the blues · Episode 160
    Outline variants: Bb7 Eb7 Bb7 E7; Bb7 Eb7 E7 up and down; E7 Eb7 Bb7 E7

Also called tritone notes surround the target

Where Chris teaches it

1. 2:11The Tritone · Episode 77
   E7 normally resolves to A; here it must flow into E flat 7, which is the tricky part.
2. 2:50The Tritone · Episode 77
   E and D of E7 surround E flat, the tonic of E flat 7.
3. 3:37The Tritone · Episode 77
   The tonic and second of E7 (E, F sharp) surround F, the second of E flat 7.
4. 4:16The Tritone · Episode 77
   The third and second of E7 (G sharp, F sharp) surround G, the third of E flat 7.
5. 4:47The Tritone · Episode 77
   The third of E7 is the fourth of E flat 7: a tricky spot.
6. 6:07The Tritone · Episode 77
   The fourth and fifth of E7 (A, B) surround B flat; the fifth and sixth (B, C sharp) surround C.
7. 8:38The Tritone · Episode 77
   Play a phrase on the dominant, then the same on the tritone, adjusted to fit.
8. 12:39The Tritone · Episode 77
   Barry’s tritones sound out but resolve so effortlessly that the out sounds better; Sonny Rollins does it too.

Also called D7 - Eb7 - D7 - Ab7

Where Chris teaches it

1. 10:56Soloing on Dominants · Episode 22
   The device spelled out for D7, G7, C7 and F7.
2. 12:21Soloing on Dominants · Episode 22
   Played with a chord up from the third and down from the second.

Also called Creation theory, the universe, man and woman, the children, where the diminished comes from, chromatic scale, two whole tones, three diminished, four dominants, man and woman, the children, chromatic, whole tone, diminished, hierarchy of chords, the musical universe

Where Chris teaches it

1. 0:00Playing with the family of dominants · Episode 10
   Chromatic scale to two whole-tone scales to three diminished chords to four dominants.
2. 0:00The Whole Tone Scale · Episode 44
   The chromatic scale breaks into two whole-tone scales which together make all 12 notes.
3. 0:00Playing with the family of dominants on All the Things You Are · Episode 59
   Chromatic scale to two whole-tone scales to three diminished chords, as the source of the family of dominants.
4. 0:31Playing with the family of dominants on All the Things You Are · Episode 59
   Two notes from each whole-tone scale make a diminished; three of them come from the original 12 notes.
5. 3:52IV Minor (Just Friends) · Episode 88
   The diminished scale should not be called half-step whole-step, because that only describes degrees
6. 0:35Diminished Explained · Episode 93
   Twelve notes, two whole-tone scales, three diminished chords (C, C#, D); Eb diminished repeats C diminished
7. 2:41Diminished Explained · Episode 93
   Why Barry does not like calling it the half-step whole-step or octatonic scale: say where it comes from
8. 0:39There’s more to it than 6th diminished · Episode 106
   The creation theory retold as the source of the four scales of chords
9. 3:01Using Barry’s scales of chords · Episode 108
   Chromatic scale as universe, whole-tone scales as man and woman, the three diminished as their babies; G7 comes from Ab diminished
10. 1:14Don’t think altered, think family · Episode 112
    Lays out the hierarchy (chromatic, two whole tones, three diminished) as the reason altered notes work.
11. 8:23Don’t think altered, think family · Episode 112
    Sums up: one idea, chromatic to whole tone to diminished to dominants and minor sixes, explains every alteration.
12. 0:00Playing with the family: dominant triads and minor sixes · Episode 128
    Introduces Barry’s creation theory as the basis for playing with family.
13. 11:55Playing with the family: dominant triads and minor sixes · Episode 128
    The hierarchy is what matters: dominants do not dominate the diminished they come from.
14. 0:00Practising with a friend: diminished runs with Thomas Eccles · Episode 131
    With Thomas Eccles: 12 tones, two whole-tone scales of six notes, three diminished chords, then the dominants.
15. 11:24Practising with a friend: diminished runs with Thomas Eccles · Episode 131
    You can recite the creation theory, but it has to mean something musically.

Also called The dominant family, Family of dominants, The four family dominants, Raise or lower one note of a diminished, four dominants from one diminished, lower one note of the diminished, four dominants from a diminished, family, brothers and sisters, family members

Where Chris teaches it

1. 0:46Playing with the family of dominants · Episode 10
   C diminished: lower each note to get B7, F7, A flat 7 and D7.
2. 1:52Playing with the family of dominants · Episode 10
   The four roots themselves make a diminished chord.
3. 11:56The bridge of Cherokee and tricky spots · Episode 11
   F sharp 7 to C7 is one of F sharp 7’s family.
4. 1:48Soloing with the Diminished · Episode 21
   D flat diminished gives C7, F sharp 7, A7 and E flat 7 (the caption mishears F sharp 7 as F sharp diminished).
5. 4:08Creating lines on the movement from I to the flat III diminished · Episode 41
   B flat diminished: lowering each note gives A7, C7, E flat 7 and G flat 7.
6. 5:20Creating lines on the movement from I to the flat III diminished · Episode 41
   One family member, G flat: a G flat major arpeggio over the flat-three diminished.
7. 3:24Middle of a blues: bars 5 to 8 · Episode 58
   From F sharp diminished: B, D, F and A flat dominants.
8. 1:04Playing with the family of dominants on All the Things You Are · Episode 59
   C diminished: lower C to get B7, F sharp to F to get F7, A to A flat to get A flat 7, D sharp to D to get D7.
9. 2:12Playing with the family of dominants on All the Things You Are · Episode 59
   So B7, D7, F7 and A flat 7 are family.
10. 6:07Playing with the family of dominants on All the Things You Are · Episode 59
    F7 into A flat 7 on the bridge of All the Things You Are.
11. 8:22Playing with the family of dominants on All the Things You Are · Episode 59
    D7 into F7, B7’s tritone.
12. 9:36Playing with the family of dominants on All the Things You Are · Episode 59
    Barry: when you grow up you play with family first, brothers and sisters.
13. 11:50Playing with the family of dominants on All the Things You Are · Episode 59
    Practice: one dominant scale everywhere, then movements, then family members.
14. 0:00The Tritone · Episode 77
    The tritone works partly because it is in the family of dominants.
15. 9:46Using Barry’s Scales of Chords on a 2-5 · Episode 79
    Lower one note of D diminished to get G7, Db7, Bb7 and E7
16. 3:08IV Minor (Just Friends) · Episode 88
    Eb7, C7, F#7 and A7 are family; their roots form a diminished
17. 3:52IV Minor (Just Friends) · Episode 88
    Lower each note of E diminished to find Eb7, A7, C7 and F#7
18. 9:41IV Minor (Just Friends) · Episode 88
    Eb7 into F major works because of practising family first
19. 1:11Diminished Explained · Episode 93
    C# diminished (C#, E, G, Bb): lower each note to get C7, F#7, A7 and Eb7
20. 2:41Diminished Explained · Episode 93
    The four roots plus the diminished make the half-step whole-step (octatonic) scale
21. 4:14Using Barry’s scales of chords · Episode 108
    G7 comes from Ab diminished; lowering D to Db gives Db7, its family member
22. 1:48Don’t think altered, think family · Episode 112
    From A-flat diminished: lower Ab to G for G7, D to Db for Db7, F to E for E7, B to Bb for Bb7.
23. 2:24Don’t think altered, think family · Episode 112
    The family of G7: G7, Bb7, Db7 and E7.
24. 0:33Playing with the family: dominant triads and minor sixes · Episode 128
    From F diminished for E7: F to E gives E7, B to Bb gives Bb7, D to Db gives Db7, Ab to G gives G7.
25. 0:50Practising with a friend: diminished runs with Thomas Eccles · Episode 131
    Thomas Eccles names the four dominants from B diminished: G7, Bb7, Db7 and E7.
26. 5:18Practising with a friend: diminished runs with Thomas Eccles · Episode 131
    Lower each note of the diminished in turn to show where the rest of the family comes from.
27. 7:13What almost everyone gets wrong about Barry’s harmony · Episode 151
    Creation theory: 12 chromatic notes, two six-note whole-tone scales, three diminished chords
28. 8:26What almost everyone gets wrong about Barry’s harmony · Episode 151
    B diminished with the Ab lowered to G gives G7
29. 9:35What almost everyone gets wrong about Barry’s harmony · Episode 151
    From the same B diminished, lowering D to Db gives Db7, G7’s tritone
30. 10:25What almost everyone gets wrong about Barry’s harmony · Episode 151
    People reach for melodic minor over altered dominants but can’t say where it comes from; Barry’s diminished can
31. 11:17What almost everyone gets wrong about Barry’s harmony · Episode 151
    Raising the D of B diminished instead gives Ab minor 6, the minor 6 on the fifth of Db7
32. 13:20What almost everyone gets wrong about Barry’s harmony · Episode 151
    Raising the Ab gives B minor 7 flat 5 (G9), which is D minor 6 diminished
33. 10:12Six must-know ii-Vs · Episode 158
    The diminished reached in the ii-V moves is what all the minor 6s and dominants come from

Also called Learn to play with family first, running one dominant into another, D7 into F7, B7, A flat 7

Where Chris teaches it

1. 3:50Playing with the family of dominants · Episode 10
   D7 into F7: in G, F7’s ii is C minor, the four minor.
2. 4:26Playing with the family of dominants · Episode 10
   D7 into B7 for going to the relative minor; D7 into A flat 7 as the tritone.
3. 5:07Playing with the family of dominants · Episode 10
   F7 as the tritone of B7, going into E minor.
4. 5:43Playing with the family of dominants · Episode 10
   Example lines: two half steps from the second of D7 into F7; one half step into E minor.
5. 9:16Playing with the family of dominants · Episode 10
   Playing through the changes, not over them.

Also called The four family minor sixes, raising a note of the diminished, raise one note of the diminished

Where Chris teaches it

1. 10:25Using Barry’s Scales of Chords on a 2-5 · Episode 79
   Raise one note of D diminished to get Ab minor 6, D minor 6, F minor 6 and B minor 6
2. 6:06Using Barry’s scales of chords · Episode 108
   Raise Ab to A in Ab diminished to get D minor 6; with G in the bass that is the guitarist’s G9
3. 9:20Using Barry’s scales of chords · Episode 108
   Raise D to Eb to get Ab minor 6, family to G7, Db7 and D minor 6
4. 10:34Using Barry’s scales of chords · Episode 108
   Contrary motion on Ab minor 6 diminished over G7, thinking only of the family
5. 2:24Don’t think altered, think family · Episode 112
   From A-flat diminished: Ab up to A gives D minor 6, the minor 6 on the fifth of G7.
6. 3:01Don’t think altered, think family · Episode 112
   D up to Eb gives A-flat minor 6 (fifth of Db7); F up to F# gives B minor 6 (fifth of E7).
7. 3:41Don’t think altered, think family · Episode 112
   B up to C gives F minor 6 (fifth of Bb7): four dominants plus four minor sixes.
8. 9:09Playing with the family: dominant triads and minor sixes · Episode 128
   For the E7 family: B minor 6, D minor 6, F minor 6 and A-flat minor 6, each on the fifth of a family dominant.
9. 9:42Playing with the family: dominant triads and minor sixes · Episode 128
   Raise the E triad’s root to get the diminished, raise it again to get B minor 6, then move the shape in minor thirds.
10. 10:47Playing with the family: dominant triads and minor sixes · Episode 128
    The same with a B-flat triad, root on top: raise once for the diminished, again for F minor 6.

Also called Altered sounds come from the family, playing with family members, altered dominants, you don’t have to play the comper’s alterations

Where Chris teaches it

1. 14:45Half-step rules on the dominant scale · Episode 5
   If the comper plays sharp 9 or flat 13, keep your F7 half-step lines; they don’t clash.
2. 2:29Playing with the family of dominants · Episode 10
   Altered dominant chords use notes of the other family dominants.
3. 0:00Don’t think altered, think family · Episode 112
   Defines an altered dominant as a raised or lowered 9th or 5th.
4. 4:17Don’t think altered, think family · Episode 112
   G7 flat 9 sharp 5: the usual answer is A-flat melodic minor, but it doesn’t say why.
5. 4:49Don’t think altered, think family · Episode 112
   G7 and A-flat minor 6 come from the same diminished, so play the A-flat minor 6 diminished scale.
6. 5:57Don’t think altered, think family · Episode 112
   Comping D minor to G7 as F6 diminished then A-flat minor 6.
7. 7:07Don’t think altered, think family · Episode 112
   Sharp 9 of G7 is Bb, a family dominant; flat 5 is Db, another family dominant.
8. 7:45Don’t think altered, think family · Episode 112
   G9 is the same as D minor 6, the minor 6 on the fifth from the same A-flat diminished.
9. 9:47You’ve never played this on a blues · Episode 124
   When transcribing he used to read notes as G7 alterations; the players were really thinking Db7 or D-flat minor.
10. 10:11Drop 2 with a pretty twist · Episode 136
    D minor 6 over Db7 gives the flat 9, raised 5, 7th and 3rd: the altered sound comes from the minor 6 diminished scale, not melodic minor.

Also called Minor 6 a half step above the dominant, Ab minor 6 over G7, what others call the altered sound, minor a half step above the dominant, important minor of the tritone, the important tritone’s minor, minor 6 over a dominant

Where Chris teaches it

1. 10:56Minor sixth diminished chords in drop 2 · Episode 12
   Yesterdays: over A7 play B flat minor 6, giving a flat 9 and raised 5.
2. 7:00Comping All the Things You Are · Episode 23
   All the Things You Are: E minor 6 diminished in place of E flat 7.
3. 10:07Comping All the Things You Are · Episode 23
   A quick A flat 7 can be A minor 6 going to D flat 6.
4. 3:42Comping Ideas with 6th Diminished · Episode 30
   A B flat 7 with a B minor 6 above it, like a drop 3 with the top note added.
5. 9:57Endless ways to play I-VI-II-V with the scale of chords · Episode 46
   D7 options include the tritone’s minor, a half step above: E flat minor.
6. 5:35Endless ways to play a minor I-VI-II-V with the scale of chords · Episode 47
   For D7 in G minor Chris uses E flat minor 6, not A minor 6.
7. 0:32Making lines with the tritone’s minor · Episode 66
   The tritone of D7 is A flat 7, whose arpeggio on the fifth is E flat minor.
8. 1:05Making lines with the tritone’s minor · Episode 66
   E flat minor: the important arpeggio from the fifth of A flat 7.
9. 1:46Making lines with the tritone’s minor · Episode 66
   Voice leading into G major: E flat to D or E, G flat to G, B flat to B or A.
10. 6:09Making lines with the tritone’s minor · Episode 66
    E flat minor 6, adding C, and its inversions.
11. 9:35Making lines with the tritone’s minor · Episode 66
    Over a longer A minor 7-D7, play some D7 first, then run into E flat minor.
12. 11:25Making lines with the tritone’s minor · Episode 66
    A minor (D7’s important minor) run into E flat minor (the tritone’s minor).
13. 3:07Lines Using Drop 2 on Rhythm Changes · Episode 68
    In drop 2s: F7’s tritone’s minor is F sharp minor 6; for B flat 7 (tritone E7) it is B minor 6.
14. 5:32Lines Using Drop 2 on Rhythm Changes · Episode 68
    G7 in rhythm changes: A flat minor 6.
15. 2:38Blues Comping Using All 4 Scales of Chords · Episode 71
    Comping: the ‘E9’ for B flat 7’s tritone is really B minor 6.
16. 3:25Using Barry’s Scales of Chords on a 2-5 · Episode 79
    D minor 7 to G7 using Ab minor 6, the tritone’s minor
17. 6:59Using Barry’s Scales of Chords on a 2-5 · Episode 79
    What people call G7 flat 9 raised 5 is, for Barry, Ab minor 6
18. 6:06Where Do I Use Barry’s Minor 6th Diminished Scale? · Episode 92
    Eb minor 6 over D7: D7’s tritone is Ab7 and its minor is Eb minor 6; D7, Ab7, Eb minor 6 and A minor 6 share one diminished
19. 11:12Diminished Explained · Episode 93
    Bb minor 6 over A7 has its own distinct sound, like the diminished or whole tone
20. 9:20Using Barry’s scales of chords · Episode 108
    Raise D to Eb in Ab diminished to get Ab minor 6; over G7 people call it sharp 5 flat 9
21. 6:13Why do we all play this? Comping on I Got Rhythm · Episode 121
    In I Got Rhythm, instead of G7 play A-flat minor 6, the minor 6 a half step above it.
22. 10:03Why do we all play this? Comping on I Got Rhythm · Episode 121
    The tritone of F7 is B7: Bb6, A-flat minor 6, Eb6, B7.
23. 1:20A beautiful way to play a minor blues · Episode 139
    Minor blues: G7’s tritone is Db7, whose minor 6 on the fifth is A-flat minor 6.
24. 1:58A beautiful way to play a minor blues · Episode 139
    C7’s tritone is F#7; its minor 6 on the fifth is D-flat minor 6, a half step above C minor 6.
25. 13:42What is short? · Episode 141
    C minor 6 used twice in All the Things You Are: as the ii chord and as the tritone’s minor over B7.
26. 14:58What is short? · Episode 141
    He doesn’t name the alterations over B7; the rule is just to play the minor 6 diminished scale of the tritone’s minor.

Also called dominant triads in minor thirds, disguising the minor-third pattern

Where Chris teaches it

1. 1:42Playing with the family: dominant triads and minor sixes · Episode 128
   The E7 family as triads: E, G, B-flat and D-flat; moved in minor thirds like diminished chords.
2. 2:16Playing with the family: dominant triads and minor sixes · Episode 128
   Bud Powell lowered the bottom note and raised the top note of a major arpeggio.
3. 3:58Playing with the family: dominant triads and minor sixes · Episode 128
   Over E7: D-flat triad to B-flat triad, E to D-flat, E to G.
4. 4:31Playing with the family: dominant triads and minor sixes · Episode 128
   With the root, third or fifth in the bass.
5. 5:37Playing with the family: dominant triads and minor sixes · Episode 128
   Running the series sounds like a pattern; mix string sets and use just a couple.
6. 6:15Playing with the family: dominant triads and minor sixes · Episode 128
   Raise the root of a triad a half step to get the diminished it comes from.

Also called root, flat 9, 3, 5 runs, three-octave family runs

Where Chris teaches it

1. 1:27Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   The G triad with one diminished note: raise G to A-flat.
2. 2:11Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   Three octaves: three notes on the E string and one on the A, then D and G strings, then B and E strings.
3. 3:25Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   Inversion from the third (3, 5, root, flat 9): two notes per string.
4. 4:33Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   From the fifth (5, root, flat 9, 3): one note on the E string, three on the A.
5. 6:00Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   The same run from E (starting on the open string), then from B-flat, which gives a sharp 9.
6. 8:42Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   Four family members times three inversions: twelve runs.
7. 9:20Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   Over a G7 with A-flat minor 6 on top in the background, play the B-flat run.
8. 10:45Practising with a friend: diminished runs with Thomas Eccles · Episode 131
   Allie’s idea: the G run, then from D down a half step into the D-flat run.

Also called The diminished with the tonics of the dominants, Where the diminished scale comes from, The diminished scale as diminished plus four tonics, diminished scale, octatonic scale, half step whole step (a name Barry dislikes), not half-step whole-step, diminished plus four dominant roots, half-whole scale (a name Barry disliked)

Where Chris teaches it

1. 1:52Playing with the family of dominants · Episode 10
   C diminished stacked with the roots of B7, F7, A flat 7 and D7 gives the diminished scale.
2. 2:30Soloing with the Diminished · Episode 21
   D flat diminished plus C, F sharp, A and E flat; why it matters more than ‘half-step whole-step’.
3. 1:45Creating lines on the movement from I to the flat III diminished · Episode 41
   B flat diminished with a half step below each note: the four tonics of the dominants.
4. 4:45Creating lines on the movement from I to the flat III diminished · Episode 41
   The four dominant roots (A, C, E flat, G flat) make a diminished a half step below B flat diminished; together they give the so-called diminished scale.
5. 7:13Creating lines on the movement from I to the flat III diminished · Episode 41
   Diminished patterns that skip a note instead of running straight up.
6. 3:24Middle of a blues: bars 5 to 8 · Episode 58
   F sharp diminished in a C blues: its four dominants are B, D, F and A flat; put together they make the scale Barry won’t call whole-half.
7. 1:36Playing with the family of dominants on All the Things You Are · Episode 59
   C diminished plus B diminished is where that scale comes from.
8. 10:08Playing with the family of dominants on All the Things You Are · Episode 59
   C diminished plus the dominant tonics B, D, F, A flat played over the whole bridge of All the Things You Are.
9. 1:08Playing with the family: dominant triads and minor sixes · Episode 128
   The four notes of F diminished plus E, G, B-flat and D-flat make the diminished scale; Barry disliked ‘half-whole’.

Also called Diminished from the third of the dominant, Coming up a diminished from the third, The diminished chords inside a dominant, come up a diminished, the diminished on the third of the dominant, the diminished on the third, all three diminished chords on D7

Where Chris teaches it

1. 6:45Scales for Cherokee · Episode 8
   Cherokee bridge: down to the third of F#7, coming up with the diminished.
2. 10:24Scales and soloing for A Night in Tunisia · Episode 18
   Night in Tunisia: the diminished on the third of A7, and on the third of E7 (G sharp), a half step apart.
3. 11:49Scales and soloing for A Night in Tunisia · Episode 18
   Up one diminished, down the other, ending on D minor 6.
4. 4:02Playing the movement from major to relative minor · Episode 34
   Confirmation: at the third of A7, play up a diminished, then down to D minor.
5. 5:21Movement: Major to the Sixth Dominant · Episode 35
   From the third of D7, come up a diminished and end on D (second of C7).
6. 10:36Movement: Major to the Sixth Dominant · Episode 35
   Bud Powell’s six notes of the diminished instead of four.
7. 3:36Creating lines on a minor II-V · Episode 38
   From the diminished he pivots, ending on the fifth of A minor.
8. 7:32Using the pivot to make lines on I Got Rhythm · Episode 42
   Up a diminished from the third of D7, then pivoting it: F sharp stays, the rest an octave lower.
9. 3:04There is no such thing as a bebop scale · Episode 54
   D7 to G major: down to the third, up a diminished, onto the fifth of G.
10. 1:44Middle of a blues: bars 5 to 8 · Episode 58
    F7: three half steps down to the third, up a diminished, ending on the fifth of C.
11. 4:57Playing with the family of dominants on All the Things You Are · Episode 59
    F7 line that pivots to a diminished into G major.
12. 8:22Playing with the family of dominants on All the Things You Are · Episode 59
    D7 with one half step down to the third of B7, then up a diminished into E major.
13. 7:37How to create lines from V to I · Episode 64
    Coming down or going up the diminished on the way into G major.
14. 6:13Eighth-Note Triplets in Autumn Leaves and Donna Lee · Episode 73
    Triplet between 2 and 3 of F7, then up a diminished; used for both II-Vs of Autumn Leaves.
15. 3:23Diminished Explained · Episode 93
    C# diminished up from the third of A7
16. 1:05Small things: the first bar of Body and Soul · Episode 95
    Body and Soul: Eb minor to Bb7 or D diminished; the fifth of Bb7 seen as a note of the diminished
17. 8:55We Don’t Know D7 · Episode 97
    Every dominant has a diminished on the 3rd, 5th, 7th and flat 9
18. 9:28We Don’t Know D7 · Episode 97
    G diminished is the E diminished of the D7 diminished scale (a student’s observation)
19. 10:07We Don’t Know D7 · Episode 97
    G# diminished, the diminished on the third of E7, leads to A minor

Also called Chromatics between two notes of the diminished, chromatics between diminished notes, diminished in thirds, flat fifths and sixths, fill a minor third chromatically

Where Chris teaches it

1. 13:06Scales and soloing for A Night in Tunisia · Episode 18
   Barry’s little triplets connecting three diminished notes, run back and forth.
2. 3:50Soloing with the Diminished · Episode 21
   Diminished up and down, starting a note and going up a third, in flat fifths, in sixths.
3. 5:13Soloing with the Diminished · Episode 21
   Total chromatic between E and G of the D flat diminished, then between other pairs.
4. 5:51Soloing with the Diminished · Episode 21
   Triplets with chromatics between diminished notes, backtracking into a full chromatic scale.
5. 7:03Soloing with the Diminished · Episode 21
   Two notes leading to the next diminished note, up a minor third each time.
6. 6:34Diminished Explained · Episode 93
   Chromatics between C# and E, then the rest of the diminished
7. 7:53Diminished Explained · Episode 93
   Between G and Bb, and Bb and C#; also backwards
8. 8:36Diminished Explained · Episode 93
   Two gaps: C# to E and G to Bb, or E to G and G to Bb
9. 10:33Diminished Explained · Episode 93
   Diminished, whole tone and minor 6 have clear sounds; this one is harder to name
10. 3:20Small things: the first bar of Body and Soul · Episode 95
    Body and Soul: chromatics between each note of the diminished, forwards and back

Also called imply one dominant inside the diminished scale

Where Chris teaches it

1. 3:23Diminished Explained · Episode 93
   Alone Together: A7 contains C# diminished, often played up from the third
2. 4:01Diminished Explained · Episode 93
   Not the full octatonic scale: just F# plus the diminished
3. 5:24Diminished Explained · Episode 93
   Ending on a note of D6; then the same from A, up a half step into the diminished, two octaves
4. 6:03Diminished Explained · Episode 93
   From C and from Eb: all four family members

Also called Whole tone scale, Whole tone on the dominant, whole-tone, six-note whole-tone scale

Where Chris teaches it

1. 14:16Soloing on Dominants · Episode 22
   The whole-tone scale goes with the dominant; thrown into a rhythm-bridge line.
2. 0:37The Whole Tone Scale · Episode 44
   Built only of whole steps: six notes before the octave.
3. 1:25The Whole Tone Scale · Episode 44
   Practise it two octaves up and down; in thirds every third is a major third.
4. 2:05The Whole Tone Scale · Episode 44
   Triads on the whole-tone scale are augmented triads.
5. 3:53The Whole Tone Scale · Episode 44
   Practise it in flat fifths and minor sixths.
6. 4:39The Whole Tone Scale · Episode 44
   Then in flat sevenths, octaves, ninths and tenths.
7. 6:00The Whole Tone Scale · Episode 44
   Contrary motion from one note on the A whole-tone scale: thirds, flat sixes, octaves, tenths.
8. 7:57The Whole Tone Scale · Episode 44
   Use: a dominant going home a fourth higher, e.g. A7 to D major, D minor, D7 or D half-diminished.
9. 8:29The Whole Tone Scale · Episode 44
   Two A7 spots in the bridge of Body and Soul, in D, where it fits.
10. 11:45The Whole Tone Scale · Episode 44
    Bud Powell’s pattern on A7: from the third going down in thirds with a half step in between.
11. 13:52The Whole Tone Scale · Episode 44
    Guitar fingering in one position: three notes, two notes, three, two, two on the B string, three on the E string.

Where Chris teaches it

1. 6:30Creating lines on a minor II-V · Episode 38
   After the important arpeggio on G7, coming down an augmented arpeggio from the E7.
2. 10:48Endless ways to play a minor I-VI-II-V with the scale of chords · Episode 47
   Over D7 in the minor I-VI-II-V, sometimes E augmented.

Also called two triads a half step apart, dominant triad plus the triad a half step above

Where Chris teaches it

1. 0:00The Six-Note Scale Idea · Episode 78
   G major triad plus Ab major triad on G7 makes a six-note scale
2. 1:13The Six-Note Scale Idea · Episode 78
   Barry uses it going home to a minor, e.g. F7 to Bb minor in ‘Round Midnight
3. 1:54The Six-Note Scale Idea · Episode 78
   Variations: down, each Ab-triad note falling a half step to a G-triad note, skipping notes
4. 3:39The Six-Note Scale Idea · Episode 78
   Ab triad up, resolving a half step up from the last note; then used on G7 to C minor in There Will Never Be Another You
5. 6:59The Six-Note Scale Idea · Episode 78
   Fast runs over several octaves, the way Barry and Pasquale do them
6. 8:07The Six-Note Scale Idea · Episode 78
   It also works going to a major chord