Diminished Patterns Inspired by Kenny Kirkland

This is our second look at a phrase using the half–whole diminished scale, this time from the legendary pianist Kenny Kirkland.

The three-bar passage moves through Dm–E♭7–Dm. It comes from “Black Nile” on Jeff “Tain” Watts’s 2009 album Megawatt. A performance demonstration appears below.

Our focus is bar 2, where Kirkland uses a half–whole diminished collection. The phrase over Dm in bar 1 is fascinating too, but we will leave it for another lesson.

Over E♭7, the phrase draws on the E♭ half–whole diminished scale (the same collection can be described starting on C or F♯). Whereas Wynton Kelly’s earlier example largely followed consecutive scale tones, Kirkland adds leaps. The leap from A to D♭ occurs between the offbeat of beat 1 and beat 2; another leap from F♯ to B♭ comes between the offbeat of beat 3 and beat 4. These are major-third intervals.

The recurring major-third leaps give the line a patterned, almost mechanical quality, creating a striking and modern sound. Used sparingly, this is an effective accent to add to your improvisations. The scale is commonly called the half–whole diminished scale; learn its alternative names as well.

I hope this analysis helps you develop your playing, whether you study independently or perform at jam sessions.