What is the Dimi?

Thoughts On Trying The Dimi

Will I Repeat Myself On The Dimi?

A Thought Experiment on George Russell's Lydian Chromatic Order of Tonal Gravity

Guide to Playing 12 Major Scales on the Dimi (with only three four-note patterns)
On the Dimi, each of eight Major scales have eight possible fingerings, and each of four Major scales have four possible fingerings. Cut through the confusion with this article on how to play 12 Major scales on the Dimi with only 3 four-note patterns. I simplify the playing of all the Major scales on the Diminished Layout Chromatic Harmonica by defining a primary fingering for each scale.

It's All About the Line - Playing Jazz on the Diminished Tuned Chromatic Harmonica
An original jazz solo, written as an etude primarily in 8th notes on a standard chord progression in the keys of Db, E, G and Bb. The intention is to illustrate how certain phrases fit on the Dimi. The Dimi has a symmetrical note layout, and therefore the solo can be played with the same fingering in four different keys. Tranposing a known line to foreign keys with the same fingering is an interesting way to become familar with the less common keys. Originally published in "Harmonica Happenings Magazine" Summer 2013.

Major Scale Fingerings on the Dimi
A simple chart showing Major Scale Fingerings on the Dimi with emphasis on the fewest possible breath changes. 8 Major scales with four breath changes. 4 Major scales with two breath changes.

Exploring The Diminished Tuned Chromatic Harmonica
An introduction to and review of the diminished tuned chromatic harmonica. Originally published in "Harmonica Happenings Magazine," Winter 2012.

Primacy Of The Ear by Ran Blake with Jason Rogers
"Primacy" outlines pianist and MacArthur Fellow Ran Blake's approach to growing the ear and explains how musical memory is the key to becoming a more potent musician and shaping a personal musical style. Included are the legendary "ear-robics" exercises, developed by Ran over the course of 40 years as head of the Contemporary Improvisation Department at New England Conservatory of Music.

"One's single most crucial ally in the exploration of music is the ear. When you listen, the ear reacts before the brain has time to process; it is an honest broker. When you play, the ear pulls you to a sound faster and more confidently than your brain; it is the part of you most in clutches of the muse. More than any other learning tool, the ear offers a straight line to your musical DNA and allows you to access and communicate your most honest, most original music."

~Ran Blake, quote from Primacy of the Ear