Diminished Fills, Runs & Improvisation

Welcome to this in-depth seminar on diminished scales and how to apply them creatively to jazz piano improvisation. In this lesson, we explore how to construct diminished scales, practice them with effective fingering, and use them musically in popular standards like “Misty” and “The Nearness of You.”

Whether you’re new to diminished harmony or looking to enhance your soloing vocabulary, this lesson provides a complete framework for integrating diminished fills and runs into your playing with confidence and style.

Understanding Diminished Scales

We begin by demystifying the diminished scale—an 8-note symmetrical scale built by alternating half steps and whole steps. There are only three diminished scales, each of which can be used over four dominant chords that are a minor 3rd apart. For example, the diminished scale starting on C can be used over C7, Eb7, Gb7, and A7.

This unique characteristic makes diminished scales incredibly versatile for jazz improvisation, especially over dominant chords and tritone substitutes.

Chord Relationships & Fingering

An essential part of this lesson is learning how diminished scales relate to dominant chords. The diminished scale encapsulates both natural and altered tensions, including b9, #9, #11, and 13, while still containing the core chord tones—root, 3, 5, and b7.

We also explore how to internalize the scales through smart fingering strategies. One key approach is to visualise where the thumb lands—often outlining triads like C major (C-E-G)—which helps map out the pattern intuitively.

Applying the Scale in Context

Once the scale is under your fingers, we move to practical application. Using examples from “Misty” and “The Nearness of You,” we explore how to use diminished runs and fills to connect chords, create tension, and resolve with impact.

We demonstrate how diminished fills can work over B-7 to E7 to Amaj7 or Bb-7 to Eb7 to Abmaj7. By carefully resolving into chord tones such as the 3rd or 7th, the diminished material becomes musical rather than mechanical.

Patterns, Enclosures & Resolution Points

The seminar also introduces common patterns and motifs using diminished scales. These include descending runs harmonised in 3rds, chromatic enclosures, and angular leaps that add a modern sound to your playing.

You’ll learn to start on key intervals, such as the root or the #11, and always think about the resolution point. Understanding where to land your lines—typically on strong chord tones—ensures your improvisation sounds intentional and connected.

Using Diminished Scales Tastefully

While powerful, diminished lines can easily become overused. We discuss how to use these ideas as one part of your improvisation toolkit. Mixing diminished runs with chord tone soloing, melodic motifs, and standard jazz vocabulary leads to a more expressive and balanced performance.

5 Practice Tips

• Learn the 3 Diminished Scales – Each diminished scale can be applied to 4 dominant chords. Start with the C group (C7, Eb7, Gb7, A7) and build from there.

• Practice Fingering with Thumb Landmarks – Focus on where your thumb lands. Often this outlines a triad and makes the scale easier to play from muscle memory.

• Drill Resolution Exercises – Practice resolving diminished runs into chord tones like the 3rd or 7th of the next chord to develop smooth and musical phrasing.

• Combine with Arpeggios and Enclosures – Mix diminished scale fragments with arpeggios and approach tones to create interesting melodic lines.

• Use Sparingly for Maximum Effect – Avoid sounding mechanical by using diminished runs as a spice in your solos, not the main ingredient.