Ron Carter Esperanza Spalding - Downbeat

Example 1
Example 2
Example 3
I really was exited to make this discovery,
because it meant that in the flat-seventh world
of turnarounds, the total number of keys was cut
down in half. Just understanding this, my mind
was stimulated and new growth began. The next
day I was excited to share the information, as
I was armed with a clear answer. I confidently
clarified the subject to my students.
After returning home, I really zoned in on
my newfound information, as new things were
already entering my playing. I had played tritone
substitutions practically my whole life, but now
had a better understanding of the concept.
In practicing, when I added the fifth of C7
(G), I discovered it was the flat ninth of Gb7, and
the fifth of Gb7 (Db) was the flat ninth of C7.
Together it spelled … diminished! I wanted to
take it further. I already understood that a diminished
seventh chord has balance in the fact that its
arpeggio continues upward or downward evenly
in minor thirds. Thus, C7 is the tritone to Gb7,
and Eb7 and A7 are also related—not only as tritones,
but also because their third and flat seventh
are the fifth and flat ninth of C7 and Gb7. I
started to understand what it meant when I’d hear
pianists say, “There are really only three keys.” If
one diminished chord is related to four dominant
sevenths, and there are basically three diminished
seventh chords (that repeat themselves as
the root note moves up or down by minor thirds),
then 3 x 4 = 12—as in the 12 notes of the chromatic
scale, the 12 major keys and the 12 minor
keys. I could feel myself getting closer to a deeper
understanding.
I’ve always loved using ii7–V7s, even when
the chart has only a dominant seventh chord
written. C7 in just about any chart can be preceded
by the ii7 chord (Gm7–C7). This led me
to wonder, if C7 and Gb7 are tritone substitutions
for each other, could I play them both as two individual
ii7–V7s?
Organists who play left-hand bass usually
voice all the colors in their right hand. I like to
play Gm9 (Bb/D/F/A) as my ii7–V7 voice (omitting
the root). I just move the F down 1/2 step to
E to change it to the C7 (a C13, actually, which
shares the same dominant quality). If I then
move my bass to Gb, could I make that the V7
of another ii7–V7? Trying Dbm9 to Gb7, I discovered
a whole new world. My newfound harmony
of Gm9–C7/Dbm9–Gb7 became a new way
to reharmonize so many places in any tune.
Another important discovery I made during
these harmonic explorations was the use of the
diminished scale in improvisation over dominant
seventh chords.
Since there are only three basic diminished
seventh chords (each with four different names,
depending on the starting point), there are similarly
only three diminished scales. The formula
we’ll look at here will use the whole-step/halfstep
scale formula.
Examples 1–3 above show the three diminished
scales available for use with dominant seventh
chords for improvisation. They introduce
a variety of tone colors, extensions and altered
notes to the dominant seventh chord. Think of
starting the whole-step/half-step scale formula
from the fifth of the chord.
This lesson should help you understand the
relationship behind tritone substitutions and colorful
diminished harmonies and how to apply it
in appropriate situations. This approach will add
to your current library of melodic and harmonic
improvisation skills when playing over dominant
seventh chords. DB
Organist Tony Monaco is a clinician and online
instructor with students in Japan, Denmark,
Italy, the United Kingdom, Brazil, Canada and the
United States. He performs as a leader worldwide.
Monaco recently released his eighth album,
Celebration, on his own label, Chicken Coup
Records (affiliated with Summit Records). Visit
him online at B3monaco.com and check out his
educational portal at motherhenmusiced.com.
DECEMBER 2012 DOWNBEAT 101