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Diminished Sounds with Major Triads

February 16, 2015
Steve Herberman
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The major triads of the symmetrical diminished scale are a treasure trove of modern sounds used for everything from “outside” improvisation to the Blues and beyond. Equally useful for soloing, comping, chord melody playing and composition, achieving fluency with these triads can elevate your improvising to an exciting new level.

Pairing these spicy melodic sounds with the similarly interesting rhythmic devices shown in this class yields a recipe for exciting improvising and composition. Opportunities in using diminished sounds for jazz improvisation are many since they can be used over both diminished chords and dominant sevenths. This class is an in-depth examination of major triad usage in achieving diminished sounds from the symmetrical diminished scale. You'll learn many ways to negotiate these sounds using both closed and open voiced major triads in all inversions and most every conceivable combination.

The blueprint is given to compose original exercises of your own and includes practice tips and visualization techniques so these sounds can be accessed more easily while improvising.

The class features an original composition “Blues For 4” based on the blues progression with a melody derived from some of the exercises in the class. “Blues For 4” uses Dom.7 13b9 chords as its harmonic foundation yielding all twelve major triads (four major triads from three tonal areas.) The theory is
explained in-depth with equal weight given to all twelve major triads so that you'll be better prepared to use these sounds over diminished and dominant seventh chords occurring so often in jazz improvisation.

Take the “Diminished Leap” into an exciting new aural territory and have fun exploring!

  • 29 pages of written materials notated in both TAB and standard notation with fingerings.
  • Running Time: 133 minutes

Average customer rating:
5 stars Total votes: 3

100% Satisfaction Guaranteed! If for whatever reason, you are not satisfied with a class, just let Mike know and he’ll give you another class in its place or a full refund.


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Customer Reviews:

Chuck M  (Saturday, 26 August 2017)
Rating: 5
Once I grasped the concept of secondary dominants and how to use harmonic minor and melodic minor scales to yield 1) b9 and #5 alterations together in a phrase and 2) the #11 alteration by itself, respectively, I then thought I had it made. But then I started to hear more.....there is a #9 and the combination of the #9, b9 and #11 are often all played together in the same dominant musical phrases of some of my musical idols. I realized that the three B's - Bird, Bill Evans and Bach - were often using a blend of the trio of a #9 along with a flatted 9 and raised #11 in some of their musical paragraphs. Another soothing combination; a step beyond the duo of the b9 and sharped fifth of the Harmonic minor scale up a P4th from the root of some secondary dominant chords, or the sole #11 of the Melodic Minor scale up a perfect fifth from the root of other secondary dominant chords. Joe Pass was also an advocate of this sound in his guitar style book. This class is allowing me to very comfortably and enjoyably add these tensions those great artists often played both in single note land and also in contrapuntal land without offending the listener. I had previously thought only the three B's and Steve (and Van Eps and Pass) had the ability to generate these sounds. And now, thanks to Steve's generous video and pdf offerings in this powerful Masterclass, when I look at sheet music with those strange excursions into secondary dominant land and then back to diatonic harmony that Porter, and Berlin and the Gershwins unleashed into the Great American Songbook I am now comfortable and have something to say. This class has helped my composition skills, my listening skills, my learning skills and my playing skills. If music conservatories knew about this stuff they'd try to become Steve's chauffeur and when taking him to his gigs they'd try to jam his thumb in the car door, sort of like what Jim Hall joked about in an interview when he was talking about Wes

Pat Carmody  (Monday, 18 May 2015)
Rating: 5
I had been meaning to check into some of Steve Herberman's classes (due to the fact that I also had studied with Ted Greene (92-93)... and I regret every day i HADN'T gotten this particular class (dim sounds/major triads). The mood in all his courses is laid back and VERY thorough (with TONS of supplementary PDF's. He's very 'at home' in the medium used (webcam) and, like his courses, a true MASTER teacher. I myself am a teacher and could only DREAM of having Steve's kind of " KOOL".


james Seaberry  (Friday, 08 May 2015)
Rating: 5
This class is an outstanding extension of his earlier class on Diminished and Melodic Minor harmonies, and like the earlier classes, I have gotten a tremendous amount of material that I have absorbed, use in my playing as an integral part, and the way that Steve presents and explains the material is like nobody else. Fantastic class.


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Jack Wilkins

"There aren't enough stars there for this class [Steve Herberman: Comping Concepts Part Two; 11/17/2008]!! Such great material so well presented, I just finished it, and I can't recommend it enough. I now have a ring binder of nothing but Mike's Masterclass material, and that, plus the stuff from David Oakes/Jimmy Wyble gives me all I need to get the ideas I have had but did not know how to express." - James S. - (Chicago, IL, USA)