Diminished and Symmetrical Scales

I have previously covered diminished scales and how they repeat themselves every one and oneAalfsteps. We also learned how to play them in other positions. These diminished scales are actuallydiminished seventh scales. (Co7)

I like to refer to them as diminished scales because they repeat themselves, as we have learned. Insubsequent sections I go into greater detail explaining these useful scales. The student has enough

work practicing the new fingering that I have outlined previously without being confused at this

stage. Your knowledge will "catch up" with your technique.

I am now introducing the Symmetrical scale. It takes very little effort to understand it and practice

simultaneously as you work on the diminished scales. Once you understand the diminished scale,

you will have no problem playing and understanding the symmetrical scale.

C Diminished Scale B symmetrical scale

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Notice that the symmetrical scale contains the same notes as the diminished scale, except that youare starting a half step before the first note of the diminished scale. In other words, for any

symmetrical scale, just start a half step before any note in the diminished scale.

The diminished and symmetrical scales are two of the most versatile scales that can be used in the

playing of jazz accordion.

I suggest that you play these scales in double octaves ascending and descending. You should

sustain chords on the right hand if possible. You will leam later what chords fit the symmetricalscale. Once you know how to play one diminished scale you can play all of them. this is the

advantage with the accordion (although you should try to visualize the notes as you play them and

not become rnechanical).

Apply Different Rhythms

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Chord and Bass ProximitY

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C Symmetrical scale

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E diminished scale

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The above examples show how chords are related, and the function of the bass in their

relationship. We have previously covered the diminished chord and the 7b9 chord- We are now

showing the bass combinations, particularly the E diminished scale and the C symmetrical scale.

The E diminished scale is also a permutation of the Db diminished scale; therefore it is logical that

the Db diminished scale can be used. By starting on C we are playing the C symmetrical scale.

43

Examples of Plaving on the IIm V7

(2m s7)

Gm7Gm7

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C,r7

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25

ptls

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Cr-r.,7

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p1 B,o 7 p] BLrnT

453

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11 2

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5-2

g7

These are just some ideas of what can be played on the IIm V7 chord sequence. You should create

your own lines. Notice that the second measure (C7) actually plays through 1l1s g'l#9, C+7 changes.

The last line should sound familiar to you. It is the main theme of a great jazz standard "Honeysuckle

Rose". The above measures should be played in different rhythm patterns and in all keys.

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66