Where'd it go?

[Yer Dad]

Someone once posted a link to a site that showed all the
chords produced by harmonizing the half-whole Diminished scale.
I've looked here on the LL and can't find it. I've scoured the Net
and find similar things, but not what was posted here.

Does anyone recall this? If so, might you be able to direct me to it?

Thanks.

[JonR]

This one?

http://www.mattwarnockguitar.com/how...minished-scale

That's not all the possible chords, of course. Here's another way to look at it:

Code:

         |  |  |  |  |  |  |  |  |  |  |  |  | 

         X  X     X  X     X  X     X  X     X

   dim:  1       b3       b5

   dim7: 1       b3       b5      bb7

 min7b5: 1       b3       b5          b7

   min:  1       b3           5

   min6: 1       b3           5     6

   min7: 1       b3           5       b7   
 

    maj: 1           3        5

      6: 1           3        5     6

      7: 1           3        5       b7

    7b9: 1 b2        3        5       b7

    7#9: 1       #2  3        5       b7

  7b5b9: 1 b2        3    b5          b7

  7b5#9: 1       #2  3    b5          b7

     13: 1           3        5     6 b7

   13b9: 1 b2        3        5     6 b7

   13#9: 1       #2  3        5     6 b7

   7#11: 1           3    #4  5     6 b7 *

  13#11: 1           3    #4  5     6 b7 *

 7b9#11: 1 b2        3    #4  5       b7

 7#9#11: 1       #2  3    #4  5       b7

13b9#11: 1 b2        3    #4  5     6 b7

13#9#11: 1       #2  3    #4  5     6 b7

There may be one or two other possibilities.

Also remember that, because the scale is symmetrical, four of any of these chord types can be found in any one HW dim scale. Eg (as matt warnock shows) you can find C7, Eb7, F#7 and A7 in the C HW dim scale.

But then there are only 3 HW dim scales .

However, thinking the other way, it's worth pointing out that most of these chord types are not normally associated with this scale; and it therefore be wrong to use this scale on those chords - either because the chord will have a specific function that the HW dim scale would disrupt, or because the symbols are used to indicate other scales.

Eg, the two marked * normally indicate lydian dominant, a very different scale.

The only chord symbols which indicate HW dim exclusively are:

13b9

13#9

7b9#11

7#9#11

13b9#11

13#9#11

Of those, I've only ever seen 13b9 in practice, and that's very rare.

The chord symbol normally used to indicate HW dim is:

7b9

- although other scales such as phrygian dominant and altered could also fit.

Otherwise, the chord symbols in the above table normally indicate (or at least imply) the following scales (among other possible ones in some cases):

dim: locrian

dim7: WH dim

min7b5: locrian

min: aeolian, dorian, phrygian, harmonic minor, melodic minor

min6: melodic minor

min7: aeolian, dorian, phrygian

maj: ionian, mixolydian, lydian

6: ionian, mixolydian, lydian

7: mixolydian

7#9: altered scale, blues scale

7b5b9: altered scale

7b5#9: altered scale

13: mixolydian

7#11: lydian dominant

13#11: lydian dominant

So the idea would be not to apply HW dim scale to these chords, but (in reverse) to use any of these chords as superimposed arpeggios on a chord which normally takes HW dim - i.e., a 7b9 chord, or possibly any V7 chord.