Here’s a unique way to express the color of the diminished scale by combining two different compositional elements: specifically, diatonic triad pairs, and polymeter. Take a look at the example above.
I’m using the “whole step/half step” diminished scale starting on “C”: C, D, Eb, F, F#, G#, A, B (enharmonically including D#, Ab and Cb). I’ve organized the scale into diatonic triad pairs that are rhythmically asymmetrical. So the first measure starts with an Ab major triad (inverted from the 3rd of the chord) that is a five-note pattern (returning to the starting note of “C”), then is followed by a B minor triad (again, inverted from the 3rd), which is organized into a three-note pattern.
The second measure starts with an F major triad (again, organized into a five-note pattern), followed by an Ab minor triad (three-note pattern). Measure three starts with the five-note pattern of an F minor triad, followed by the three-note pattern of a D major triad. The line concludes in measure four with a B major triad (five-note pattern) ending on an F natural (to imply the continuation of the rhythmic subdivision).
This “5/8 to 3/8” subdivision works remarkably well by both “fitting inside the box” of the 4/4 measure, while at the same time implying a polymetric rhythmic tension. This “5+3=8” over 4/4 is a simple technique you can use to organize seemingly mundane and clichéd melodic material into surprisingly new melodic ideas. I’ve put in accent marks to demarcate the subdivisions. I suggest playing this etude (with the metronome), first with a “straight” eighth-note feel, then onto a swing feel, once you are clearly hearing (anticipating) the subdivisions relative to the clicks on the metronome. If you’d like to explore these concepts further, please consider my e-books, Diminished Scale Diatonic Triad Pairs, and Essential Polymeter Studies in 4/4 for the Improvising Musician. Click the link below to download a free pdf copy of this etude: