Diminished Form: Vertically

Demonstration
0:32

Cæ C Cæ AŒ†’
4fr 3fr 4fr 5fr

231 231 231 111

° 4 #w
w nw
w #w
w w
w
&4 w w w w

4 3 4 5
4 5 5 5 5
5 5 5 5
4
¢⁄

0:41

Cæ Fæ B¨ E¨Œ†’
6fr 6fr 6fr 6fr

321 321 321 321

° bbbw
w
& #w #w
w
w bw
w
w w
w
w

6
6 7
6 7 8
6 7 8
¢⁄ 7
8
8

0:49

Cæ C Cæ AŒ†’
4fr 3fr 4fr 5fr

231 231 231 111

° n#w
w nw
w #w
w w
w
& w w w w

4 3 4 5
5 5 5 5
5 5 5 5

¢⁄
2

0:52
G‡…‹7 C©‡…‹7 E‡…‹7

° 2413 2314
w1324

& bbw bw
w
w bbw
w
w w #w w
w
3
5 2
3 3 3
2 5 2
¢⁄ 4
3
4

1:10
G‡…‹7 D7/C G7(b5)/F

° 2413 2413
nw bw
w
2413

& bbw
w w #ww nw
w
w w
3
3 2
3 2 4
2 4 3
¢⁄ 4
3
3

1:51 1:58 2:04

G‡…‹7 D7/C G‡…‹7 G¨7

° 2413 n2413
w 2413 1312

& bbw
ww #w w bww
bw
bww
bw
w w w bw
3
3 2 3 3
2 4 2 2
¢⁄ 4
3
3 4
3
4
2

2:07 2:11 2:14 2:29 2:32

D7/C C‡…‹7 D7/C G7(b5)/F G7(b5)

° n2413 b2314
w 2413
bw
2413 2 341

&# w
w
w bw w w
#w
w
w
nw
w
bw
w
w
w w w w w
3
3 4 3 2 2
2 2 2 4 4
4 4 4 3 3
¢⁄ 3 3 3
3 3
 3

2:34 2:40 2:46 2:52

G7(b5)/F G7(b5) G7(b5) D¨7(b5)
8fr

° b2413
w 2 341
bw
2 341
bw
2 341
˙˙˙
& w
w
w w
w nœ bœ
w
w bw
w œ œ œ œ w
3
2 2 2 8
4 4 4 10
3 3 3 9
¢⁄ 3 3 5 7 8
5 4
3 9

2:55
G7(b5) D¨7(b5)
8fr

° 2b341 2 341
ww
& ww
w w
bw
w

2 8
4 10
3 9
¢⁄ 3 9
4

4:06 4:19 4:32 4:39 4:45 4:58

G7 B‡…‹7 G7/F G7 DŒ†’/F DŒ†’/G D‹9

° 2n343 2314 2304 T2304 324 T 324 2134

w
& ww
w bw
w
w
ww
w
ww
w
w
w
w
w
ww w
w
w
w w w w
w w
3 3 3 3 3 3 5
4 1 0 0 2 0 5
3 3 3 3 3 3 3
¢⁄ 3
2 2 2
3 3
5

5:01 5:03 5:04

D‹9 E¨‹9
4fr

2134 2134 œ œ œ œ nœ
° œœ œœ bœ œœ nœœ œœj ‰ nœ œ œ
& œœœ≈œœœœœœ‰ Œ œœ œœ bbœœœ œœ nœœ œœ
j
5 8 8 5 7
5 5 6 6 5 5 6 8
≈ 2 ‰ Œ 5 5 6 6 5 5 ‰ 7
2 3 5 5 2 5 3 3 3 4 4 3 3
¢⁄ 5 5 5 6 6 5 5

5:11
G13

° œ œ œ œ œ
œ œ œ œ œ
1231
w
w
& ‰ Œ w
œ œ œ œ œ œ œ œ œ w
œ
5 3
6 8 5 5
7 5 7 4 ‰ Œ 4
7 5 3 5 2 5 3
¢⁄ 7 5 5 3
5
2
 5

D‹9

œ 2134
° œ œ ¿ œ™ œ œ œ œ œ œ œ#œnœ œ œ œ œ#œ œ œ nœ œ œœ Œ œœ œœ
œ œ œ œnœ
& œœ œœœ œ

X 8 7
™ 5
6 8 6 5 8 8 6 8 5
7 7 7 6 5 4 7 6 7 7 5 4 7 5 Π2 5 4 2
7 5 3 2 3 5 3
¢⁄ 8 5

G9 G9

2 314 T1324
° Œ Œ œ œœœœ œ œ œ œ œœ Œ ˙˙
& œœ œ œœœœ œ ˙˙
3 œœ˙ œ ˙
3

5 6 5 3 3
ΠΠ5 7 5 4 2 Π2
7 7 7 3 3
¢⁄ 7 8 8 5
8
5
1 3 3 3
2
3
The Diminished Form!
!
The
!! diminished interval is the Fourth Primary appearing on the circumference of the circle at!

!
four points. When meeting in symmetry with each other they form an equilateral Diamond.!
!
! eg. 15
E
! D# F

D F#

C# G

C G#

B A
Bb

5 Vertical Augmented Inversions!

! Groups)
(Commen

!
Adjacent String Groups
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
III

II
II

G C# E Bb C# E Bb G E Bb C# G
!
Non-Adjacent String Groups
6 5 4 3 2 1 6 5 4 3 2 1
III
II

G E Bb C#
C# Bb E G

Some of the most valuable elements found within the common groups are based upon !
!
opposition.!
!
!
The third primary, (the augmented triad) reveals itself horizontally within two types of inverted!
!
alterations. One of them, (major) being the result of any singular descending tone, while the!
!
other, (minor) is the result of an ascending tone. !
!
Both the augmented, and the diminished forms organize themselves into adjacent, or non- !
!
adjacent sets. Let's briefly look into another facet of this study, once again based upon the!
!
opposites.
Horizontal vs. Vertical Alterations!
eg. 16 !
a. (Horizontal)

6 5 4 3 2 1 6 5 4 3 2 1

6 5 4 3 2 1

III
II

IV
B, D#, G Aug G# Mi
B Ma

!
Adjacent String Groups

b. (Vertical)

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II

II

II

II

G# Aug C# Aug F# Ma B Mi

!
Non-Adjacent String Groups
c. (Vertical)
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II

II

II

G# Aug A Ma F# Mi

Examples 16a, b, and c seen above show the same effect taking place. Eg.a proceeds by!
!
either lowering, or raising the selected tone, while vertically the augmented triad when !
! !
dispursed using the same fingering below itself in four adjacent string groups produces a!
!
natural reoccurrence of the same types of opposite siblings, (one Aug., and two Major, and
!
Minor triads). !
!
Similar effects take place within the diminished form, (the fourth primary). The chord !
!
transforms itself horizontally into 4 inversions, and vertically into 3 co-related forms.

eg. 17
Horizontal vs. Vertical Alterations!
a. !
(Horizontal)
6 5 4 3 2 1
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1

I
6 5 4 3 2 1

II
II

II

II
G, Bb, C#, E Dim F#7 C7 D#7 A7

In example 17a. the diminished form horizontally inverts itself across 4 positions of one!
!
string group, (6543) using separate fingerings.
!
Adjacent String Groups
b.
(Vertical)

6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
II
II

II

G, Bb, C#, E Dim D7 G7b5

!
Seen above, in example 17b., the same diminished form when transfered across adjacent !
!
string groups forms another two important siblings. The first is seen as a D7, this time also!
!
appearing as a "poly-chord" as well, ... D / B on the 5432 string group. The second form on!
!
the 4321 string group appears as a G7b5. What's interesting with this one is how when it's!
!
transfered to a 6–432 group it reveals a vertical mirror image of itself upside down in the key!
!
of C#! 6 5 4 3 2 1 6 5 4 3 2 1
! c.
IX
II

G7b5 Db7b5 .... (C#7#11)

This of coarse suggests the consideration that due to their opposition the entire 12 tones !
!
are now divided into 6, (rightside up) and 6, (upside down) the root, and the tritone.