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Gonlenls: l: INTRODUCTION., SECTION Unit t: Unit 2:
Modes of fhe Diminishedond Whole'ToneScoles I A-l C ExomPles Stqtic ond FunctioningDominont Tfhs' ExomPles2A-28
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SCATE SECTIONll: THEDIMINISHED """""'7 Fingeringsof fhe DiminishedScqle' Unit 3: """""""'''""4 Exomplei3A-3c How lo leorn qnd Prqcticethe DiminishedScqle...,''"""'""""I0 Unit4: """"""""'5 C7 ProcticeTrock """""'I I DiminishedScqle Sequences.,,, Unit5: """"""""6-15 ,,,:,.*.,,.'i""""""' E x o m p l e4s- . l 3 . , ' . , ,. . , D i m i n i s h eA d p e g g i o s , . , ' . , ' , , , , ' , . - . , , , , , , " " " " ; " " ' r"- "r "" "r " " " " ' 1 9 U n i t6 : ""' ro """)""""" E x o m p l els4 A - l 4 E . , ' . """"""2.| Usingthe DiminishedScole Unif 7: ""'17-24 ExomPles15-22 """""'27 Six-NofeDiminishedShqpes Unit 8: """"'25-26 ExomPles23-24 """29 Moior Triods in the DiminishedScqle Unil 9: """"27-36 ExomPles25-g4 '.,,"'.,...34 unif l0: using the Diminishedscqle over stqtic chords "37-42 35-40 ExorriPles SCATE SECTIONlll: THEWHOTE-TONE """""'37 Scole of the Whole-Tone U n i tI l : Fingerings e x J m p t e s4 1 F . - 4 1 E , , , , . , . , . . , , """"""""41 Unif l2: Whole-ToneScqleSequences.,.,,., Exomples42-47 """'M Unit l3: Whole-ToneArPeggios', 48A-48E Exomples """""""46 Unii l4: Usingfhe Whole-ToneScqle.,., Exoriples 49-56 Unit l5: Modern Usesof the Whole-Ione Stolic Chords""""""" """"'52 Exomples57-60 '54 Unit | 6: The Fingerboqrd- SymmetricqlScoles Geometric Ployground 6l-66 Exomples ""'59 U n i l l 7 : Diminishedond Whole-ToneLines Exomples67-76
""""'43-45 """""'46-5.| """"""'52 """"""53-59 """""'60-63 ""'64-69 ""'70-79
Foreword welcome Io SymmetricotscolesReveoled,Leorninghow to ploy ond usescoleshos olwoys been o lorge porf of every guitorployer'sproctice schedule,Ployershove spentcounfless procticing hours scolesup ond down oll over the guitor,sometimeswith greot successond sometimeswith frustrotion os the end result. Thoseof you who know me from my booksond videosor yeorsof the Guitor Institute of Technology(GlT) know l've been involvedin guiior educqtionfor o long time, l've seenhundredsof students strugglewith the some problemsthot I foced when gling throughthe processof leorninghow to ploy ond usescoles, After mony yeorsof experience,both pldyingond teoching,l've become o big believer in cutting through the nonsenseond getting to the point of it oll,which isployingmusic, Thepresentotionond ideosin thisbook ore definitelyfrom o ployer'sperspective.We're not going to get too in-depthinto the historyond clossicoltheoryof the diminishedond whole-tonescoles, We,llfocus more on theirusesin contempororystyleslikeblues,rock,fusion,ond get Don't me wrong;there willbe no )ozz. shortcutshere when it comesto modern musictheory.As for os l'm concerned,oll guitorployers must hove o good workingknowledgeof hormonyond theoryond the obilityto reod music, even if it,sonly simple chord chorts,
ThreeSfepsto Success Leorningto improvisecon be thought of os o three-rtdpJro""rr. Thefirststep istypicollythe teorning of scoles,Usingeitherthe key center opprooch or the modol opprodch,studentsshouldleornot leost o few usefulfingeringsof the mojorscole ond be oble to ploy them in dtt t
Introduction Thisbook deolswith the two mostusedsymmetricolscoles-the diminishedond whole-tone, Symmetricol scolesore bestdefined os hovingrepetitiveor equol-notespocingthot repeotsthroughout the octove, For exomple,the whole-tonescqleisexoctlywhot the nqme indicotes;it'so scole builten1rely of whole tones, Thesymmetryof o diminishedscole iso pottern of olternotingwhole stepsond holf steps,four timesper octove. one greot thing obout symmetricolscolesisthqt they ore very guitor-friendly ond eosyto memorize.The fingerboordiso visuol,grophic instrumentsimilorto o slide-rule, In mostcoses,you con get by with justone fingeringfor eoch of thesescqlesond then repeot the some fingeringeverytwo frets(whole-tone) or three frets(diminished)up or down the fingerboord,Guitorployerscon eositydiscoverhundreds of unique melodicond hormonicideosthot ore not os obviouson other instruments likekeyboords,reeds,or bross, Bothof thesescolesore very usefulond creotivetoolsused by improvisers, Theirsimplicitycon be deceptive; it'solmostsurprising how thesesimplescqlescon providesucho complexsound,In trqditionol jou, they provideo controstingflovorogoinstfunctionoldominontchords.Modernployers exploitthesescoles to odd on outsidesoundto contempororyjou, rock,ond even blues. ln SymmetricolSco/esReveqledyou'll leornthe most usefulscole potternsond explore sequencesond orpeggioswithinthe scoles'Nextwe'll leornthe secretsof how to best usethe scoles,followed by severol of my fovoritemelodiclines, I . ; We'llbegin eoch of the two sectionsby firstleorningsome good,fingerings for eoch scole,lf you olreody know o fingeringor two, stickwith them or feel free to modifyony oi the iingeringshere to suityour techniqueond style'Theultimotegool isto be oble to ploy the porticulorscoleonywhereon the guitor in ony t,^,, KUV.
One more thing obout the fingerings: Youore limitedonly by the lowestond highestnoteson the guitor. Thinkof scolesos hovingno beginningond no end. Don't be too concernedwith the bottom or top notes of eoch individuolpottern,You'llfind thot eoch hos q differentstortingond ending note becouseof the noturolronge of the strings, Scolesore simplyo row of notes,ond you shouldleornto controlthe scole by being oble to stortqnd end on ony note, Eventuolly, individuolscolefingeringswillbegin to blend togetherintJlorger potternsuntil finollythe whole fingerboordisunderyour control!
How fo Get the Most Ouf of ThisBook Thebestwoy to get the mostout of thisbook isto scon througheoch chopter first,Get o feet obout where ond whot the vorioustopicsore ond if they contoin informotionyou olreodyknow,you shouldreod every poge corefully,but it'sokoy to stortwith ony sectionin the book thot interests you,
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Unit l: Modes of the Diminishedqnd Whole-ToneScqles Usingthe term mode when discussing symmetricolscolesmqy seemstronge,but modesoren't justfound in mojorscqles.All scoles,includingmelodicond hormonicminorond even the pentotonic,hove modes contoinedwithinthem, Of our two symmetricolscoles,the diminishedhostwo modeswhilethe whole-tone hosjustone, Thefirstmode of the diminishedscolebegins,when oscending,with q whole step from the firstnote or root, lnsteodof givingit someweird Greeknome, we'lljustcoll the firstmode Ihe diminishedscole.
@l ExomptelA: C Diminished6cate(tst Modet
I step sfep |I/2 /2 step I step I/2 step I step I/2 step I step I/2 step
Theothermode found in the diminished scolebeginswith o holfstep,A good nome for thisone isthe domrnont diminishedscole,
Example I B: D Dominonl Diminished Sca.le(2nd Mode) /
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II/2step step l/2step I/2 step Ilsfep sfep l/2sfep tstep l/2step tstep /2 step Ilstep
Don't let thismode business with the diminishedscole confuseyou. Bothmodesore stilldiminishedscoles ond ore ployed exoctlythe some,Onlythe stortingnotesore different,Youcon ploy both diminished modeswith one fingeringpottern,juststortwith eitherthe whole-stepor holf-stepscqle,Youdon't wont to confuseyour fingersinto thinkingthere ore two differentpotterns, Thereosonwe ore even consideringboth modes isto moke the scole'sopplicotioneosier,In improvising, you willnot only ploy the diminishedscoleover diminishedchords,but more often thon not you will olso ploy it over dominont7th chords,Thinkingin termsof two modes mokeslocotingor superimposing the scoleover specificchordseosier,
Example lC: C Whole-Tone Scale Mode When it comes to the whole-tonescole,there isonly one possiblemode, No motterwhich note you stort on in o whole-tonescole,the resultingscolewillolwoysbe the some,
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Unit2: Stqlic qnd FunctioningDominqnlTths Thereore two primorytypes of dominont chordsthot ore mostlydefined by their context, or function,in the progression-stoticond functioningdominont7ih chords. Troditionolly, dominontchordsfunctionos tronsitionchordsthot leod to other chordsby creotingtension, Thenoturolresponseto thistension,colled dissononce,isthe desireto heor thot tensionresolvedby movement to onother chord. l'll referto these dominqnt chords os the functioningdominonts, Thistensionlimitsthe omount of time thesechordscon be ployed before movingto the next chord. Most of the time they willresolveto o home chord up o 4th. Toget o feel of thesefunctioningdominonts,ploy C7 to FmojTor E7to Am7 ond listento the dissononceof the dominont7th chord being resolved, Sfotic(stotionory)dominontsore not os dissonontond ore not usedto leod to other chords,Stoticdominonts ore usuollyvomps,or extendedgrooves,where the tune moy stoy on the chord for o long period of time, Theycon be extended(C7, C9,Cl 1,Cl3, etc.) All dominontchordscon be usedos functioningdominonts, (C7CI5), con olwoysbe extended but not usuolly etc.), Stotic dominont chords ond oltered C9(b5),Cl3(b9), oltered becouse the olterotionsoften odd too much dissononce,Theonly exceptionsore the il9ond the b5, Symmetricolscolesore troditionollyconsideredolteredsoundsusedover functioningdominontchords, ' providingtheirown uniquekindof tension, , ;
Example2A Notice how the dominont diminishedscole contoinsevery oltered tone but the $5(or bl3), b7t root 3rd sth Dominqnl 7th Chord: sth 6th bTth il9 3rd b5 Dominonl DiminishedScole*: root b9 . Diminishedscolestortingwith o holf step,
Example 28 The whole-tone scolecontoinsthe f5 thot wos missingfrom the dominont diminishedsco/e,The b5isthe only olterotionthot's common to both scoles. sth bTrh 3rd Dominonf 7fh Chord: root b7th root 2nd 3rd b5 Whole-ToneScqle: ils
Scqle Proboblythe mostpopulorpotternfor o diminished scole isshownbelow, lt,so verticolpottern usingthree notesper stringthot coverso littlemore thon two octoves. on ony stringthere'solwoyso whole step followed by o holf step or vice versosponningthree frets. At thispoint' don't be concernedwith the stortingnote, we willget into the ..modes,, of the scotetoter,For now' justthinkof thisfirstpottern os c diminisneoitorring on low c ond ending on high D.
@ Exampte3A: DiminishedScdte C Diminished Scole
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Exampte38: Dominan] DiminishedScale
Eb,lt odds o Thenext pottern isexocflythe some os the firstbut hostwo qdded notes:o low B ond o high Thisiswhy bit more ronge to the scole,but more importont,it includesthe root of o dominont7th chord' diminished thispottern,which stortswith o holf step rotherthon o whole step,issometimescolled the dominont scole, Toodd Comporethe fingeringsfor the oscendingond descendingversionsof the dominontdiminished, noteson one the low B ond the high Ebyou hove to ploy four noteson the lst ond 6th strings,Ployingfour to shiftfrom the your finger 4th when oscending,try using stringcon presentsome chollengesfor guitorists, descending,useyour lst fingerto shiftbetween the lqsttwo notes(4-3-l-l)' 3rd to 4th note (1-2-4-4).When momentum' Thelogic behindthisisthot shiftingwith the lostnote on the stringwillhove more strengthond qnotherwqy, go for it' And yes,someguitorists Thisruleisnot set in stone;if you feel you con ploy it fingering do ploy the four noteswith four seporotefingers' ond oniveof the bestfingeringfor you, Shiftingiso very imporfontguitortechnique Do someexperimenting not onlvfor diminishedscolesbut olsofor other scolesond shopes'
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Example3C: HorizontalDominanlDiminishedScalePattern Whilewe ore on the subjectof four-note-per-string fingerings, the followinghorizontoldiminishedpottern usesthisfingeringon everystring,Horizontol fingeringsemphosizethe symmetryof thesescoles,Thispopulor pottern isusefulfor long melodiclinesond chonging positions. I fingerit the some woy os the lostpottern: 1-2-4-4 when oscendingond 4-3-l-l when descending, lf the diminishedscole is new to you, you might wont to skipthispotternfor now ond concentroteon the firsttwo fingerings, G DominontDiminished Scole
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Unit4: How lo Leqrnqnd Prqclicethe DiminishedScole Thereore bosicollyiwo importontthingsto proctice:techniqueond ploying,Buildingup techniqueis somethingyou con do onywhere,suchos whilewotching TVor sittingin the pork,whileyou ploy things over ond over,Procticingployingisusingthe thingsyou've worked out in o reol musicolployingsituotion, Ployingolong with music-minus-one topes,your friends,or even o drum mochinecon simuloteperformonce. Thisisthe time to imogineyou're on stoge with no turningbock, lt's o greot woy to get to know whot you con reollydo ond where your weok oreosore, Thebestwoy to leornony scolesor scole potternsisto relqtethem to o chord immediotely,lt's importont to heor,rightfrom the beginning,how b scoleworksmusicolly.
@ cz PRAcrrcE TpAcK Whileployingthe C dominontdiminishedscole olong with the G7 groove proctice trock, listento how it soundsond relotesto the chord,Thediminishedscole isolmostolwoysployed over o functioningdominont 7th chord, but for now proctice the scoleover o dominont 7th chord vomp. Yourfirsttendency might be to storton the lowestnote ond ploy up or storton the highestond ploy down. Thot'sokoy of first,but you shouldplon to breok owoy from thot hobit os soonos possibleby procticingthe scolesfrom differentstortingnotesin the middle of the scole.Thegool isto memorizethe scolesos o complete group of notesin which you con stortond stop oqywhere, ".'
you shouldbe lookingfor difficultfingeringsor pickingobstoclesond ploce some extro Technicolly, emphosison theseoreos,Musicolly, you shouldtry to hove some fun with thesescolesby odding rhythmic voriotionsond occents.
Unit5: DiminishedScqleSequences l'm not o big believerin exercises. I would rothershowyou some ideosthot ore not only good for building techniquebut ore olsomelodicond interestingenough to usewhen performing,I hove io odmit, however, thot l'm cought in the middlewhen it comes to scolesequences.Althoughthey borderon soundinglike ploin old exercises, scqlesequencescon be powerfulmelodictoolsfor improv6ingif usedproperly, Sequencesore o processof ployingthe notesof o scole in o mothemoticolorder,Typicollyployed os descendingor oscendinglines,sequencescon be mode up of two or more notes.Sequencescon olsobe o significonthelp in leorningscole potternsond con offer somevery chollengingpickingond fingering movements, . Due to theirsymmetricolpotterns,diminishedond whole-tonescolesore noturolsfor opplyingsequences. Thediminishedscoleoffersmore cool soundingsequencesthon ony scole I con thinkof. Coming up ore o few fovorites.Check them oll out on the CD before you leorn ony; then pick two or three thot you like best to stort,Get them down os well os you con ond usethem, Leornthe othersonly when you feel you con odd them to your ployingwithoutjeopordizingthe onesyou firstleorned.lt's much better to hove o few thot you con useinsteodof severolthot you're strugglingwith ond con't quite pioy, Severolof the sequence exomplesore shownwith o suggestedchord thot the line fitsover, However,one importontthing obout diminishedmelodiesisthot they willolwoyswork over severolother chordstoo, Loter,we willexplorehow to usethe diminishedscole in detoil.Butfor now, know thot if o sequenceis shownfor G7, for exomple,thot linewillolsofit over lb7, Gb7,ond E7.Thesefour chordsore qll equolly spoced q minor3rd oport ond oll occept the somcidimlnished scole. a
E) Exomple4 Let'sbegin with o few closic diminishedsequences,A lineeverysoxployerknowsisthisone for G diminished. lt's builtwiih the scoletonesin thisorder:2-l-4-3-6-5. etc, Mony of the sequencesond licksin the diminishedscole include4th intervols. Thislinewillhelp you moster the technique of fingering4thswith o bone or two notes ployed with one finger.Thefingeringsore nototed, lf you hove borringwith your 4th finger,the fingeringscon be ployed, in mony instonces,with o combinotion of your 3rd ond 4th fingers.
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aJ Exdmple 5 Anotherwell-knowndiminishedsequenceisthisdescendinglinefor the dominontdiminished scole for Bl. Your4th fingerwillget o good workoutwith thisone,
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L2)Example6 Thenextsequenceissimilorto the firstone, A good descendingline,it contoinsseverolfourthintervolsond followsthisnote sequence:6-5-8-7-4-3-6-5, etc, lt's ployed oroundthe 8th fret ond mokeso good linefor C7,
Example6A Sequencessuch os thisone con be olteredrhythmicollyto creOte\Cifferent occents,Forexomple,disploce oll of the notesby shiftingthem to the left one l6th note eorlier,mokingthe firstnote o pickup,Continueto repeot thisprocedure,mokingthe firsttwo notesthe pickup ond then mokingthe firstthree notesthe pickup,
Also,convertExomple6 ond eoch voriotionin Exomple6A into8th notes,8th-notetriplets,ond l6th-note triplets, 8th-notetriplets:
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&A Example 7 Thesequencein Exomple7 isqn oscendinglinefor the A diminished scole,Thislinecon be ployed,positionwise,o few differentwoys,Showniso pottern designedto keep the sequence in o relo1vever1col position. However,it requireso bit of o stretchwhen you reoch the 4th string, AdimT
@ ExampteI Youmight find it eqsierto ploy the lostsequencein o horizontolfoshionusingthe four-note-per-string pottern. Tosovespoce, l've shownonlythe firsttwo borsof the sequence,Workit out so ybu con continueup to 'lst the high F$on the string. AdimT
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@ Exompte 9 One of my fovoritediminishedsequencesisthisdescendingline.lt's o repeotingsix-notesequencethot is designedto followodjocent stringsetswhilestoyingin the scole pottern.Youmight find it eosierto pick by stortingwith o downstrokeon the firstnote (C) ond then olternote-pickthe entireline,
@ Examptel0 A weolth of ideosisot our fingertipswhen we thinkof the diminishedscole in termsof intervols,Although the followingexomplesore stillconsideredsequences,we willorriveof them in o differenlwoy from the nume1colpotternsshowneorlier,Byplocing voriousintervols(3rds,4ths,Sths,etc,) obove scole ond orpeggio tones,we con discoverseveroluniquediminishedsounds. In foct, on interestingcoincidenceoccurswhen certoin intervolsore ploced obove the four notesof o diminished7th orpeggio(see Unit5 on orpeggios),Theresultingeight notesodd up to oll the notesin o diminishedscole.Plocingo mojor3rd, perfect Sth,or minor7th intervolobove the hotesof o dimTth orpeggio resultsin o dominontdiminishedscole,Ploceo 4th, minor6th, or mojor7th ond you get the scqle, diminished An exompleof thisconcept isthisusefulline builtfrom mojor3rd intervolsploced obove the four notesof o GdimTorpeggio.Theresultiso G dominontdiminishedsequence.l've odded q pickingtwistto the descendingport of thislineby olternotingthe order in which the intervolsore ployed,
@ Examplet I Theintervolsequencein Exomple I I issimilorto the lostbut usesSth intervols,Here,Sthsore stocked obove the four nofesof on AdimTorpeggio,Anotherwoy you con look of thislineisSth intervolsmoving up minor3rds,Eitherwoy, the resultiso greot linefor A7,
@ Example12 Combiningintervolscon creote interesting soundsolso.Thisexomplecombinesolternoting4thsond mojor 3rds.I thinkof thissequenceos 4thsmovingup minor3rds,with olternoting3rdsolsomoving up minor3rds. All resultingnotesodd up to on E,G, Bb,or C$dominontdiminishedscole,Thelinecon be ptoyeOnot only over E7,os shown,but olsoover G7, Bb7,or C*7,
@ Exomple13
offsetfeel due to itsfiveUp next iso cholenging voriotionof the previousexomple,Thissequencehos on by o mojor3rd intervol note phroses.lt oeglns-withtwo 4th intervolsployed o minor3rd oporf followed 3rd intervolbecomes the mojor stortingo whole step obove the stortingtone. However,the iop holf of the Thiscreoteso five-notemelodythot is repeoted severoltimes firstnote of onothergroup of 4th intervots, stillusestwo 4th intervols movingup bsthintervols,Descending,the five-notemelody iso bit differentbut followedby o singlenote,
Unil6: Diminished Arpeggios @ Examptet4A: C Diminished7th Arpeggio Thereore o few veryusefulorpeggios foundin the diminished scole,Thediminished 7thorpeggioisthe mostcommon,lt'sbosicolly everyothernoteof the scolewitheoch noteo minor3rdobovethe next,lt con be fingeredo few woys,but let'sstortwiththispottern,
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Thediminished7th chord isthe only type resultingfrom the troditionolhormonizotion of the diminished scole (3rdsstockedon top of eoch scoletone). lf you hormonizethe scole,the resultwillbe eight diminished 7ths,one builtoff eoch scoletone. Youmight find it interesting thot combiningtwo diminished7th orpeggios,eithero holf or whole step opori, creotesthe eight notes of the diminishedscole.Thisofferssome interestingimprovisingoptions. Let'sfirstlook ot onotherorpeggiofound in the diminishedscole.Thisorpeggioison edited-downversion of the first,One woy to look ot it isthot it'sjustthe notesof o diminished7th chord voicingon oll sixstrings, or b5intervolsmovingup mojor6ths,Eitherwoy, it'so cool orpeggio but o bit trickyto ploy, Eventhough it's only one note per string,I stillolternote-pickthe orpeggio beginningwith o downstroke.lt con olsobe ployed usingo sweep-pickingtechnique,Thefret-hondfingeringisolsoshown.
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Example l4C: B Dominant DiminishedArpeggio orpeggio.lt isbuiltwith the Drowingfrom the dominontdiminishedscole,here'so five-note-per-octove rooI,b2(b9),3rd,Sth,ond bTthof the scole.lt's o good orpeggiofor oltereddominonts' 87(be)
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Example l4D: B Dominanl DiminishedSnape Arpeggio An unusuolvorio1onof the lostexompleisconstructedusingthe root,b2,3rd,ond Sth of the dominont diminishedscole,Thisfour-noteshope isthen tronsposedup o mojor6th ond repeoted.Theprocesscontinues o thirdtime up to the 1ststring, B70e)
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Example l4E: Flafted Sth Bb Diminished Arpeggio Thefinol diminishedorpeggio isoctuollyo stockof b5intervols.By leovingout everyother note of the orpeggio,A good left-hondfingerdiminished7th orpeggio,we get thisvery horizontol,one-note-per-string when oscendingond the reversewhen descending. ing is I -2-3-1-3-4
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Unit7: Usi
the DiminishedScqle
Thediminishedscole,due to itsuniquetensionsound,isolmostolwoysusedos on olteredscole over functioningdominont7th chords,Youmoy be osking,"Aren't you supposedto ploy the diminishedscole over diminishedchords?"Theonswerisyes;however,we need to look o litfledeeper into diminishedchords thot showup in tunes,Mostof the chordsore substituting for dominont7ths, Beforewe tolk obout usingthe scoleover dominonts,let'sfirstlookof diminishedchords,In theory,o diminished chord iso three-notetriod with o root, minor 3rd, ond flotted, or diminished,Sih, Much more common in populormusicisthe diminished7th cho?d,Thisiso four-noteversionwith o root, minor 3rd,ond flotted Sth ond 6th (correctlycolled o double-flottedor diminished7th),All four notesore evenlyspoced,three holf steps(minor3rd) oport, Becouseoll four tonesore equollyspoced, ony note con be consideredthe root, Thismeonsthot Bdim7,for exomple,isolsoDdim7,Fdim7,qnd AbdimT.Thisexploinswhy we con slideo fingeringof o diminished7th chord up or down three fretsond stillend up with the some chord,The only thing thot chonges isthe order or inverdonof the notes,not the notesthemselves, Thisdiminishedprincipolworkshugelyin our fovor when it comes to opplyingthe diminishedscole.The scoleworksexoctlylikethe dimTchord on the guitorfingerboord,Slidethe finge1ngpottern up or down three fretsond you get the some scole,Theonly differenceisthe scole'srqnge (highestond lowestnotes), In oddition,similorto the diminishedchord, ony dimirlisniOscolecon hove four roots.The imporfqnf lhing fo remember is thof fhe four roofs ore fhe uppel notes in ilre,trolf steps.
Example l5A Let'slook of o C diminishedscole, Cdiminishedscqte:C D E F Gb Ab A j /2 Sle p s b e l w e e n : j/2 1 1 112 1 I
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Youcon see thot the scolefollowso symmetricolsequenceof olternotingwhole ond holf steps,Becouse of this,the scole hos multipleroots,Besidesbeing C, it's olsoon Eb,Gb,ond A diminishedscote, How thisreollypoysoff to improvisers isthe foct thot every diminishedsequence,orpeggio,lick,ond so on, con be ployed in four keys/positions on the fingerboordond stillwork over o given chord,Thiseliminotes the need to leorndiminishedlinesin more thon one position.
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Example l5B: DiminishedScale over Dominsn] Tths In modern musicstyles,dominontTthsore much more prominentthon dimTthchords.And in mony coses, thesedominontTthsore primeplocesfor usto usethe diminishedscole, Thereore two woysto locote the conect diminishedscoleto useover o dominont7th,Thetroditionql opprooch isto ploy o diminishedscoleo holf step obove the root of the domTthchord:Abdiminished isessentiolly scole tor G7 or C diminishedscole for 87 ore o few exomples,Mony ployersrelqtethot B7(b9) between o domT ond o dim7. o CdimTchord.Theyolwoyskeep in mind thisholf-steprelotionship Simplerfor mony iswhot might be cdttedthe modol opprooch,Juststorton the root of the domT ond ploy o diminishedscole leodingoff with o holf step rotherthon o whole step,Somemusicionscoll thismode the dominontdiminishedscole,os mentionedeorlier, Belowiso B dominontdiminishedscoleshowingthe whole ond holf steps,Thegrophic includesthe resulting 87 chord tonesond olterotions, B domlnont diminlshed scole: 87 scqle tones: Stepsbelween:
B Ab A F Gb D Eb B C 6th b7 Root sth 3rd b5 Root b9 f9 I 112 1 1/2 1 112 | /2 1
hosfour possiblenomes,Thefour rootsore the Similorto the diminishedscole,ony dominontdiminisQed lowernotesin the holf steps.So,B dominontdiminishedisolsoD, F,ond Abdominontdiminished, Choosethe opprooch Whichof thesetwo opproochesisbest?lt's up to you. goth U.t the some results, thot helpsyou quicklylocote the conect diminishedscqlefor o domTth.lf it'seosierto thinkup o holf step ond grob the diminishedscole,go with thot. Butif you would rotherhove o scolethot stortsrightout on the root of the chord, usethe dominontdiminished,
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M Example 16: Usingihe DiminishedScale in ii-V-l Progressions l'm sureby now you've testedthe soundof the diminishedscoleover o dominont7th,You'veeven jommed over o domT vomp to proctice the scole,Thisisgreot, but proboblythe best ploce to stortopplying the diminishedscole isover the ii-V-lprogression, As you moy olreodyknow,the ii-V-lprogression isthe moinstoyof iozzstondordsond pop music,lt's o simpleprogression thot incorporotesone of the most importontond essentiolospectsof music:tensionond resolution, TheV in the progression isthe tension chord leodingushome to the I chord (resolution), Thell chord usuollyocts os o set-upchord workingwith the V, Belowiso ii-V-lin C, Suggestedscolesorp shownbelow the stoff, ii-V-lProgression in C Mojor Dm7 G7
D Dorion (C mojo)
G dom/dim (N diminished)
C mojor
Noticethot the chordsore in theirbosic 7th form,Thisishow mostchortsqnd foke booksore written,The composerwilltypicollyleove it up to you to chooseextended or olteredvoicingsof chords(Dm9,G.|3CI5), Cmoi6l9,etc,).Theonly timesyou'll likelysee big scorychordslikethisore on musicchortsthot hove o specific orrongementwhere certoinolteredor extended.voicings ore colled for. : '
't r @ Example16A:ii-V-lin C PRACTICE TRACK .' Puton the CD ii-V-lin C ProcticeTrockond try out the diminishedscqleover the V chord, but only over the V chord,Whenthe progression reochesthe l, Cmoj7,you need to switchto the C scole.Tryto moke the scole chongessmoothwithoutinterruption, As for os positions on the fingerboordgo, o good stortingploce isoroundthe 3rd fret.Thinkof the common G7 voicingot the 3rd fret ond ploy the scolepotternthere,Youwillolsoneed to knowC mojorin thot qreo too, Whenyou've got thispositiondown o bit, slidethe diminishedpottern up o minorthird ond proctice the progression there.Locotethe C-mojorscolethere olsoto remoinin thot position.One secretisto pretend thot the Bb7,oI the 6th fret, isG7 ond referencethe diminishedscoleoff of the Bb7, Tokethisideo o step furtherond pretendthe Db7,ot the 9th fret, isolsoG7, Thisiso good thinkingsubstitute becouseDb7isthe flot-fivesubstituteof G7. Go up onotherminor3rd to the l2th fret ond pretend E7isolsoG7.
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@ Examptet 7: ihV-l Lineswith the DiminishedScale Now for o few ii-V-llinesfeoturingthe diminishedscole over the V, Mostore rhythmicollysimple,which mokesthem eosierto leorn,Once you get o few underyour fingersond in your eors,you'll be oble to moke them your own, Soon,you'll be oble to moke slightrhythmicolmodificqtionsor odd voriousstylistic effects such os bends, hommers,pull-offs,ond sweeps, Let'sstortwith o simpleii-V-llinein G mojor.lt stortswith on Am9 orpeggioleodinginto on Ebdiminished lineover the D7 resolvingto B,the 3rd of Gmoj7. Am7
GmojT
@ Example18 Next iso ii-V-lline in C with two borson eoch cl'iofd,Twob.orsgivesyou more time to develop on ideo on eoch chord, Of course,you con hove the similorbenefitby ployingprogressions thot chonge everyfour beots or even everytwo beots if the tempo isslowenough, Thefirsttwo borsin thisexompledemonstroteo bebop lineover Dm7.TheAbdiminishedis plqyed over G7 usingo few shope ideosresolvingto Cmoj7. Dm7
CmojT
@ Examptet9 Exomplel9 isonotherlinein c, thistime using16ths,stortingin o higherregister, the firstphroseiso clqssic l6th-notetripletlickin D minor,over the G7, on Abdiminisheoorpeggio sequenceoscendsup to o resolution on o highE. Dm7
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@ Exampte20 Movingto the key of D, thislinefeoturesmojortriodsover the AZ,creoting on oltereddiminishedsound, Thetriodsore Ff mojorond Ebmojor.(SeeUnit9 on mojortriodsin the diminishedscole,)
@ Exampte 2t Exomple2l iso voriotionof o ii-V-lprogression, similorto o turnoround,o Vl7 isodded to set up ond resolve bock to the ii' In thiscose A7(b9)followsCmojTond resolvesto Dm7,which isfollowedbv G7 toking us bock to cmojT' Thisprogression isii-v-l-v|7,A typicolturnoroundis l-Vl7-ii-V, so, the melodic tinesin this exomplecon be switchedoroundto work over o turnoroundtoo, A few stylistic tripletsore included,inspiredby ployerssuchos pot Morlinoond Joe poss, os well os severol clossicbop phroses, Dm7
\21
CmojT
A7(be)
@ Exampte22 Anothervery importontprogression to be fomiliorwith isthe minorii-V-i,lt worksthe some os o mojor ii-V-l os for os tension-resolution goes,except the i iso minorchord ond the ii iso m7(b5)chord.Theminorll-V-lin C minorisDm7(b5)-G7(b9)-Cm7, Theb9odded to the V in foke booksiso greot indicotorof o minorkey, Theii or m7(b5)issometimesreferredto os holf-diminished becousethe firstthree notesform o diminished triod.Althougho few otherscolesore commonlyused over it (Ebmojor,C hormonicminor,ond F melodic minorfor Dm7(b5)), the diminishedisolsoo good choice, ForDm7(b5), useo D diminishedscole.lt turnsout thot D diminishedisthe some os Ab$iminished,which isthe scole usedfor G7(bg),So you cqn usethe some diminished scolefor the ll ond V in minor. Thisporticulorlick useson interesting crisscross fingerboordshope throughthe firsttwo bors.Thediminished shope issevennoteslong ond repeotsdown b5intervols, A few libertieswere token to keep the shopes eosierto ploy.Thisresultedin o few notesnot in the Abdiminishedscole (Ebond A in the second bor),They don't seemto conflictwith the diminishedsoundond come off soundinglikepossingtones, Dm7(b5)
G7(be)
Unit8: Six-NoteDiminishedShopes Wg:BbDiminish
on"o six-noteshopes.|t,sogreotwoytoinventol|kinds of unusuqldiminishedideosond isverysimple,Livingritnin the bosic diminishedscole pottern (Exomple 3o) ore three six-noteshopes,Eoch shope is ployed-on two odjocent strings-shope l: 6th ond Sth strings; Shope2: 4thond 3rd strings;ond Shope3: 2nd ond lst strings.Lqcn shope isfingeredond ptoyed exocly lne some. a
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@ Examples24A-24F: Diminishedshape Melodies
once you leornond understondthe shopes,creote o melody with the notesof the firstshope.Themelody doesn't necessorily hove to hove sixnotes,lt con hoy{ ostmonyor "ignt or more ond os few os three or four,Then,just repeot the melody in eoch of the thrJe shopes.r \ Hereore o few diminishedshope melodiesl've found to be uery usetut. Exomple24A
Exomple24B
Exomple24D
Exomple24E
Exomple24F
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Unit9: Mqior Triqdsin the DiminishedScole A surprising numberof chordscon be extroctedfrom the diminishedscole,includingminor,m7, dim7, dom7, ond severololtereddominonts:domT(bs),domT(f9),ond doml3(bg)to nome o few, Developing linesby combiningorpeggiosfrom thesechordsofferso lifetimeof explorotionin diminishedsounds, However.onotherchord, olsofound in the scole,stondsout for itssimpleond pure sound-the mojortriod, Byopplyingthe diminishedprinciple,we discovernot one but four mojortriodslivingin everydiminished scole'Theyore equollyspoced minor3rdsoport, ond when combined,somevery cool soundsemerge,
@ Exampte25: Mqior Triod Posifionsfor Bb Diminished (A Dominont Diminished Scole Over A7
Creotinglineswith mojortriodswithinthe diminishedscoleiso fqvoritetechniqueof conternporory )azptoyeii.
Thebestwoy to unlockthe power of the mojortriodsin diminishedisto leorntheirorpeggioshopesin speci1c positions. And sincemostopplicotionsof diminishedlinesore over domT chords,the pbsitionsshouldbe bqsed on domT chordsos well,Thefollowingexompleillustrotes the four mojortriod orpeggiosin posi1on surrounding on A7 chord of the Sthfret,Themojor orpeggiosore A, C, Eb,ond Ff, A7
(A)
(Eo
Adding togetherthe notesfrom eoch triod totols 12pitches;however,losethe duplicotesond the totol becomeseight,the exoct notesof the diminishedscole, Shiftoll four triodsup o minor3rd ond somethinginterestingoccurs.Theyoll reoppeor,justin o different order'TheA triod becomesC, C becomesEb,Ebbecomes Ff,ond F*is now A. Thisprocesscontinuesup onotherminor3rd ond so on, Withthe triodsunderyourfingers,experimentcombiningshortphrosesfrom eoch triod over o stqticA7 vomp, Youmight,for exomple,ploy three or four notesfrom eoch triod, lt doesn't motter in whot order you ploy the triodsor on which one you stortor end. Justkeep in mind the chord you ore ployingover,in this cose A7.
30
@ Example26 Hereore some exomplelinesdemonstrotingthisconcept. They'reoll nototed in the some key becouseof the eose in which diminishedlinescon be moved in minor3rds,In foct, ony diminishedideo ployed on three consecutivefretscoversqll l2 keys,Thismeonso diminishedlinefor A7 ployed of the Sthfret works tor A7,C7, Eb7,ond Ff7, Move the lineup one fret ond it now worksfor Bb7,Ci7, E7,qnd G7, Move it up one more fret ond it now covers87, D7,F7,ond Ab7-oll l2 dominont7ths,
A mojor
C mojor
Ebmojor
Ff mojor
A mojor
C mojor
Ebmojor
Filmojor
Thefirstexompleisbuiltoff the triodsmoving up minor3rdsstortingwith A mojor,Becousethere ore mony possiblewoysto ploy lineslikethis,it'schollengingfor guitor ployersto find the bestfingeringpottern,The exompleshowsone thot worksfor me, I might of timeS,however,ploy everytriod in thislineusingthe some three-noteshope on two strings,Forexomple,tl'eiflrstA triod would be ployed the some,but the following C triod would olso be fingered the some, stortingon the 3ru fret, Sth string,followed by the next two notes 'position on the 4th string,2nd ond Sthfrets,Thisrequiresquite o bit of shiftingbut often worksout better in mony situotions, Somethingimportontto rememberobout symmetricqllinesisthot you ore more likelyto ploy shortersegmentsin reol-worldsoloing,Mony of the ideos(especiollythe sequences)in thisbook ore quite long,often coveringseveroloctoves,They'regreot for leorningthe fingerboordond buildingtechnique,but you probobly wouldn't wont to ploy them in theirentiretyin on improvisedsolo.
@ Example27 Thisvoriqtionof Exomple26 reonongesthe triodsinto o four-notepickingsequence,lt beginswith the 5th of eoch triod followedby the root,3rd.ond Sthogoin,
@ Exampte28 Somerhythmicvoriotionisqdded to the next triod lineto demonstrqteone of thousondsof possibilities, Rhythmicolphrosing,when introducedto symmetricolscole melodiesond sequences,con reollybreoth life into theirsometimespredictobleond mechonicolsound, Thelinestortswith on A-mojortriod ond then jumpsup to the F$,Thesome phroseis repeoted with the next two triods.Ebond C, TheA-to-Ebtriod phroseisthen ployed ogoin, on octove higher,before o btuesyending.
@ Exampte29 Exomple29 lookslikeo workoutof first,but once you understondthe formulo,it's o bit eosier,Agoin, A, C, Eb,ond Ff triqdsore usedfor thisA dominontdiminishedlin0.Thelineiso 9-notesequencethot isrepeoted up minor3rd intervols.But,unlikethe previousexqmpl6s,the trigds.oreployed in differentinversions, Followingon A-mojortriod in root position,on Filtriod isployed stortingon its3rd,then Sth,ond root. TheEb triod beginson the Sthto the root ond 3rd leodinginto o C-mojortrioOin root position.Thiscomptetes the bosicsequence Now the entirelineisrepeotedo minor3rd higherond so on, Fingerings con be chollenging,but I think you'llfind it'sworth the efforfto work them out, Thissequenceofferssomevery cool melodic possibilities. A7
@l Exampte30
with on A-mojortriod,the linemovesto on Exomple30 opproochesthe triodso bit differenfly,Descending second bor,the sequenceis inverted' Filtriod,followedby Ebond c triods,when the lineoscendsin the os 8th-or l6th-notetriplets'lt olsomokeso Thisline invitesslidesor hommer-onsin severolploces,Alsotry it lost E note os o pickup to stort out if good technique exercisewhen repeoted severoltimes,Add the very you like.
@ Example3l
scolethrough exploredthe diminished JozzgreotsJohncottron"ond chick coreo,omongothers,hove orpeggios 7th minor eight-notesequenceusing Thenextexompledemonslrotes.o;torlort triodshopes. q ofcs fournotesof minorpentotonic mixedwithmojortriods,Theminor7thorpeggibdcon osg 5e thought Thislineis 5-b7-root-b3') pentotonic, withthe b3on top, (Forexomple:G, Bb,c, ono Ebore fromi-minor horizontolfoshion' positionbecouseit iseosierto ployin o descending locotedin o higherfingerboord
@ Exampte32
o bit of rhythmond o posing note (F noturo Usingthe concepr frornthe previousexomple,the next lick uses less Theeight-notesequenceisolsobrokenup to moke it sound in the firstbor) to odd more musicolity, oredictoble.
@ Exampte33 Minor7th orpeggioscon olsobe thoughtof os mojortriodswith on odded 6th tone. And in everydiminished scolethere ore olsofour minorzth orpeggios,spoced minor3rdsoport. Here' osline usingthe four minor7th orpeggiosin the Bbdiminishedscole(Am7, cm7, Ebm7, ond c$m7), Thisisonotherlinethot's o good technicolexercisewhen repeoted mony times,Usethe losthigh C#os o pickup to the beginning,
@ Exampte34 Thefinoltriodicdiminishedlinedemonstrotescombiningtriodswith on unequol omount of notes.This mokesthe linesoundmore interesting ond unpredictoble.lt's o l6-note sequencethot isrepeoted up flot Sth intervqls'Theentirethree-borlineiso tremendousfingeringond picking exercise,but you might 1nd the lostbor o very usoblelick, s ,- | A four-noteA-mojortriod beginsthe linefollowedby only thr& rtotesof on F* triod ending on Bb,ThisBb becomesthe Sthdegree of on Ebtriod ond isfollowedby the root ond 3rd,Then comes o four-note,rootpositionC-mojortriod,Thesequenceiscompleted with o descending A-mojortriod,Theentireline isnow repeoted stortingon Ebond ogoin on A on octove higher.
Thebest-keptsecretobout diminishedlines,such os the exomplescovered so for,ishow one line con become four uniquelines.Forinstonce,if we ore soloingover A7 ond ploy triod Exomple 2g moved up o minor3rd (or bsihor 6th),it tokeson o differentsoundfrom the originoilocotion,Atthough ii,sstillin the Bb diminishedscole,differentnotesore occented, givingit o similorbut differentfeel.Thisii greot newswhen you're tryingto get the mostout of linesyou leorn,So,if you get bored with one of your Jminishedlines, move it to onotherlocotionolong the minor3rd cycle, lt justmight soundbetter thon ever,
UNIT| 0: Usi
he DiminishedScqleOver Siqlic Ghords
.r970s combiningthe soundsond instrufusion, or jozz+ock,emerged from the worrdof ioz.,jozz, Bythe eorry stondordsgove Troditionoljozz of sophisticotion mentotionof rock with the hormonyond improvising or stotichormonies' thot reriedmore on rhythm,grooves,ond modor woy to new formsof compositions prou"n-irprovisingconceptsin new ond unique Jozzproyersquicklyodopted to the new musicby using troditionololteredscolessuchos diminished' woys.Thisnew opprooch to rock mode it eosierto use"the wrong only o decode before' whole-tone,ond melodicminorin plocesconsidered over stoticchords'A stoticdomT isthe obviousstortln thissectionwe.ll leornsome diminishedscole lines over m7, m7(b5),ond domT(f9)' ing proce;however;o few exompresdemonstrotediminished for exompre,berongsto o lorge fomilyof extended rt,simportontto rememberthot q stoticchord rikec7, ttn Bb/Core extendedversionsof C7' And for soloing' dominonts.Chordssuchqs C9, Cl l' Cl3' CTsus'ond scole choicesfor oll of theseore the some'
@ Example35
proper scole over stotic chords'ison exercisein Another i.ponoriiote: Good soloing,usingthe diminished in ond out of the scqle,olternotingit with tfp weove to you need rilnt, sound score the moke To phrosing. ond entiretime, your solowilllikelysoundtoo outside home scole,lf you justploy the diminishedscolethe ond the c dominont stortsotr inir qecilrn. lt combinesthe c bluesscole A stoticc7 bluesricr< nonsensicol, scole. 3 L diminished
@ Exsmple36
onotherbluesydiminishedlickfor c7' To hove we,ll odd o few bendsto the next stoticexomple,creoting c on insid6bluesor iozzphroseusingo c bluesor o on effectiveimpoct, thislick shouldbe set up with scole' Mixolydion
Min o r Thenexttwo diminishedlinesore over o stoticm7. Applyingthe diminishedscolethiswoy is definitelyo technique reservedfor iozzsituotions, Theexomplesolso demonstrotetwo differentopprooches to superimposingthe diminishedover m7 chords,
@ Exampte37 Thisexompleshowso more troditionolopprooch. Joz.ployersfound thot they could creote tension ond resolutionover o singlechord by occosionollyhintingof itsV, An exompleiswhen soloingover Cm7, ploy shortG7 phrosesthot resolvebock to Cm7 even though the occomponistcontinuesto ptoy Cm7,Wellploced G7 ideoscon odd significontlyto o solo,TheseG7 ideoscon be impliedwith severolscoles,including diminishedond whole-tone, Exomple37 iso two-bor line with the firstline o jozz phrosefor Cm7, Thesecond bor twistsinto o few mojor triodsfrom the Abdiminishedscole before resolvingbock to cm7, Cm7
(G70e)
@ Example38 Creotingmore of o modern,outsidesound,the next lineover Cm7 useso Dbdiminishedscole in the second ond third bors'In thisopprooch,the Cm7 istreoted similorly to o C7 by the useof the some diminished scole,(ForCm7 useC dominontdiminishedor Dbdiminished,) Tokecore not to overemphosize the E notes (mojor3rd) over the Cm7, Cm7
Minor 7(b5) Unusuolbut stillworth consideringiso stoticm7(b5),Becquseof itsdiminishedproperlies.the m7(b5)iso noturollocotionfor the diminishedscole.Thinkof it os the sqme os o dimTond locote the diminishedscole rightoff of itsroot (Em7(b5), useE diminishedscole),
@ txampte39 Thelickstorlswith on Em7(b5) orpeggioond chongesto E diminishedleodinginto the second bor,Theno bosicdiminishedsequencedescendsbock down to the chord'sroot, Thislinecon qlsobe ployed over C7, Em7(b5) qnd C7 ore both in the key of F mojor,Em7(bS) con olsobe thought of os o substitutefor C9,
r
:' DominqnfT(tg> Thedominont7($9)isone of the only oltereddominontsthot [ .ito usedin stoticsituqtions. FromHendrix's "Purple Hoze"to numerousbluesond funktunes,the domT(*9)lendsitselfwell to the diminishedscole,The chord hos both o mojorond minor3rd (il9)thot isolsoreflectedin the scole.
@ Example4O Thislick useso five-noteDbdiminishedshope olternotingwith o C-minorpentotonicscole, c7($e)
TheWhole-Tone Scqle U N I TI l : F i n
s of lhe Whole-Tone Scqle
!et's stortout by leorningo good fingeringfor the whole-tonescole,"Onlyone pottern?,,you moy osk, Justos with the diminishedscole,it'sonly procticolto leorn one movoble pottern,lf you olreodyknow o 'ngering or two, stick with them or feel free to modifythispotternto suityourtechniqueond styte.Theultimote gool isto be oble to ploy the whole-tonescqle onywhereon the guitorin ony key, Thisison especiollyeosytoskfor tne wnlle-tone scqlesincepotterns repeot up or down the fingerboord every two frets,Remember,ony note in the scole con be the root, so thispottern is not only on A wholetone but olsothe B,C$,Df, F,ond G whole_tonescoles,
@ Example4t A: pATTERN #l Thispottern givesyou o ronge of two ond one-thirdoctovesond usesthree-note-per-string moveson the 6th,4th, ond lst strings'Thesecon be o bit of o stretchif you're not usedto them, especiollytoweron the fingerboord,Mostployers(includingme) usetheir lst, 3rd,ond 4th fingers;however, some usetheir lst, 2nd,ond 4th. A good pickingpottern for thisscole isto useolternotiqgprickingstortingwith o downstroke on the firstlow A, ..,
A Whole-Tone Scole
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#2: fhe "SPeed" Version 4tB: PATilEPN
versionthot, in mony Byremovingthe bottomond top notesfromthe firstpottern,we hove o streomlined ond the move(4thstring), Youend up withonlyone three-note-per-string moy be moreuseful, instonces, pottern loysnice in one position.lt'sstilltheA whole-tonescole,but it's proboblyeosierto thinkof it os the B whole-tonescole, Scole BWhole-Tone
How to Leqrn ond Prqctice the Whole-ToneScqle
@ tz ppncncerRncrc
Here,son A7 groove on the CD to ploy olong with, As I hove mentionedbefore,it isimportontto heor, rightfrom the-beginning,how o scoleworksmusicolly.As you proboblyfiguredout by now, the whole'tone sCole,likethe diminished,is primorilyployed over o dominont 7th chord. Althoughitsmore common usoge isover o functioningdominont7th,it isstillo greot ideo to proctice the scqleover o stoticdominont7th chord vomp. One greot thing obout the whole-toneisthot you con simplyslidethe pottern up or down two frets'The scole will stillbe in the some key; only the ronge (lowestond highestpossiblenotes)will chonge, So,while leorningthe pottern over the A7 vomp, move it to other locotionson the neck.Justvisuolizeond usethe roots,locoted every other fret, on the low E stringos o guide'
39
Addilionql Whole-TonePqfrerns Hereore two more populorpotlernsfor the whole-tonescole- two-note-ond three-note-per-string versions,
@ Example4t c: Two-Note-Per$tringPattern(c whote-Tonet Thisexompleisunusuqlin thot when oscending,it movesdown the fingerboord.lt's eosyto ploy becouse there ore only two notesployed on everystring,I usemy lst ond 4th fingers,but you moy feel more comfortobleusingyour 1stond 3rd fingersinsteod,
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Example4l D: Three-Note-Per-Slring Paltern (G Whole-Tone) When mostguitorployersstudythe whole-tonescqle,they inevitoblyspend time on the horizontolthreepottern.Good for long runsond chonging positions, note-per-string the pottern istwo whole stepsper stringmovingup b5intervols,Mostployersusetheir lst, 3rd, ond 4th fingers,but ogoin, lst, 2nd, ond 4th might be better for you, To keep your ploce when crossingthe fingerboord,try wotching your firstfingeros o guide os it movesup or down b5intervols,lf you'rejustgetting your feet wet with the whole-tonescole, woit o few monthsbeforetocklingthisone.
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4l E: Five-Nole
Whole-fone Pollern
There'sone more pottern I wont to showyou, similorto the six-note shopeswe ployed
with the diminished
v;lsion r:ltl?.:o.e concept, tt'so rive-nore whote-rone shope rhorisptoyed
l?i3.iii:::,yi:,:_t":: on the threestringsets:6-5,4-3,ond.2-1,Wecon invent
melodies withinthe shopesond oroi'"li"i;:y,i;o or downto the nextstringset,Thepotternisverysimilor to the firstshowneorlier(Exomple 4lo) withthe exceptionof threenotesrotherthontwo ployedon the 2ndstring,only two notes ployed ore on the 1ststrirg.
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Scqle Sequences UNIT12=Whole-Tone @ Exomple42 Hereore o few usefulwhole-tonesequences,Thisfirstone isfor the A whole-tonescole ond usesthe cometc., sequence.Procticeit slowlyond in time (with o metronomeor click) of first,Lookfor mon I 234-2g45, difficultoreoseitherin pickingor fingering;then isoloteond emphosizethosesections,Moke up o short exercisewith thissection(moybe 8 to l6 noteslong) ond repeot it severoltimesuntilyou get it down.
@ Example43A Thenextsequenceisbuiltwith mojor3rd intervolsmoving in o porollelfoshionup the A whole-tonescole. In reol-worldimprovising, you would proboblynever ploy o long sequencelikethisexomple,lt's preferoble to useshortersegmentsconnected to onothermelodic ideo. Butleornond proctice it in itsentireform to help buildup yourtechnique,
Example 438 Here'sthe some3rdssequencedescending.
@ example44 How obout one of thoseclossicsoxophonewhole-toneriffs.Thinkof thissequenceos o four-notemelody repeotingdown in descending3rds,
@ Exomple 45 *ere ison unusuolseven-notesequenceolong the linesof John Mcloughlinond Al DiMeolo,Odd-numbered sequencescon soundvery cool becouseit's hord for the listenerto detect obviousnote groups,
@ Exompte45 I usethisnextsequencewith everyscole I know,lt's o littlechollengingto ploy but well worlh the effort leorningit. lt's o six-notemelodythqt isrepeoted down b5intervols,l've includedthe fingeringson thisone to help you work it out, Sequenceslikethisone with five-or six-notephrosessoundmore interesting becouseit's difficultfor the listenerto trock the repeotingpottern,Check it out over Bb7,but remember thot every note in the sequencecon be the root of o dom7, which it willolsowork over,
@ Example47 Bosedon the previousexomple,thisiso ten-notemelody repeoted q 9th intervolbelow,Youcon see thqt it'sthe some firstsixnotes(stortingon B thistime) with four descendingscoletones,lt mokeson interesting linefor 87.Everywhole-tonemelodycon become o sequencewhen repeoted in onotherlocotionin the scole.
UNITI3: Whole-ToneArpeggios Theone troditionolorpeggiothot best reflectsthe whole-tonesoundisthe ougmented orpeggio' lt's olso symmetricolin thot it isbuiltwith mojor3rdsone on top of onother,When compored to the whole-tone,the ougmented orpeggiosoundseveryother note, Belowiso good fingeringpotternfor the ougmented orpeggio,Themostchollengingport might be borringwith ihe 2nd fingeron the 2nd ond 3rd strings. Althoughit's possibleto ploy thesetrio noteswith seporotefingers,try to do it borringthe two stringssince thistechniquewillbe extremelyusefulin the future, Youmight find it helpfulto leornthisorpeggio in two ports:Ploythe firstfour notesover o few timesond creqte one then work on the higherfour-notegroup.Once you get them down, connect them togetherto "sweeps" smoothorpeggio.Alternote-pickthe notesto get it cleon before you ventureinto the lond of with thisorpeggio.
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Example 488:
As we justleorned,the ougmentedorpeggio outlineseveryother note in the whole-tonescole.To ploy the noteslefi out in the scole,simplyslidethe orpeggio up or down o whole step,Thismeonsthot two ougmented orpeggios,o whole step oport, form the notesof the whole-tonescole,Ployershove picked up on thisfor yeors,combiningthe two orpeggiosto creote mony interestingougmented/whole-tonesounds.Thefollowirp line iso two-octove orpeggiothot isCoug for the firstfour notes,switchingto Doug (or Bboug)for the top four.lt's importontto rememberthot, likethe whole-tonescole,ony note in on ougmentedorpeggiocon be consideredthe root,
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Example48C: C Whole-Tone Here'swhot I collthe Whole-Tone Arpeggioby combiningthe two ougmentedorpeggioswith the scole. Cnec kit o u t ,
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Example48D: Bb(bi) AugmentedArpeggio Thisnext orpeggiois builtwith b5intervols,lt might look fomiliorbecousewe olreodyleornedit os o diminishedorpeggio,Coincidently,it'solsoon ougmented orpeggiowith everyother note omitted,With only one note per string,it'so bit tough to ploy,Thesecretisto fingerit l-2-3-l-3-4, r
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Example48E: l-3-b5C AugmenledArpeggio Hereisonotherwhole-toneorpeggio usingthree notesper octove, Builtusingthe root,3rd,ond b5,it'sfingered in on unusuolfoshionto keep it in o verticolfour-fretoreo.
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UNIT14=Usin the Whole-Tone Scqle Applicotionsof the whole-tonescolesore similorto thoseof the diminishedscole,Typicollytreoted os on olteredscole,the whole-tonespeokso very specificsound,Somesoy it soundsunsetling,odd, or even spookywhileothersthinkit hos o modern outsidesound,Mostogree it does not soundvery reloxed or homey ond shouldbe reservedfor very specificsituotions. And thosesituotionsore over dominont7th chords.
To reollyunderstondthe whole-tone'spotentiol,you need to understonditsmokeup ond how it compores to o dominont7th,We discussedeorlierfunctioningond stoticdominontsond showedo comporison of tfx whole-toneto o dominqnt7th chord (Unit2), Youcon see thot the scole creotesthe root,2nd, 3rd, bsth, $Sth,ond bTthof o dominontchord. Mostmusiciqnsknow thot becouseof the olteredSths,thisleonsthe sound,creoted by thisscole,in on ougmented direction.Thisdoesn't meon thot you con ontyploy the whole-toneover ougmented,DomT(bs), or *5 chords,lt is,however,o good thing to keep in mind,
Exomple 49: Whole-Tonein ii-Vl progressions t"t,'g"ts roldfriendthemojorii-V-|progression.Returntotheii-V-|inC ProcticeTrockflrock 18)ond try out the whole-toneover the V chord, but remember-only over the V chordlWhenthe progression resolvesto the lchord. Cmoj7,you olsoneed to resolveto the C scole.Stort out ployingnonstopeven 8th notesuntilyou con moke the scolechongessmoothwithoutinterruption. Ihi willforce you to preporeoheod for scolechonges,Thegood newsobout the whole-toneisthot itssingle pottern isolwoyswithinyour reoch. ForG7, visuolizgoll the whole steps(stortingot the 1stfret) olong the low E string,Eoch one of thesenotesiso root.chOitorting ploce for the pottern,
9 Exampte50:ihv4 Lineswith the whote-Tonescale
Afteryou hove spentsometime procticingwith the ii-V-lproctice trock,stortmemorizingond odding the followingexomples,Mostore rhythmicollysimpleond eosyto leorn,Whenyou get one down, ploy it olong with the trock untilyou're comfortoblewith the chonges, Followingthe Dm7 line,which includeso few chromoticpossingnotes,iso stroightoscending (or G B) whole-tonescole over the G7 thot resolves with o C-mojorscole polern over Cmoj7, Dm7
CmojT
G7
@ exampte5l Thenextexompledoublesup with l6th notesfor onotherii-V-lin C, We're olsomovingdown to o lowerfingerboord positionoround the 3rd to Sthfret oreo. A troditionoljozz-style melody stortsover the Dm7,settingup the big whole-tonelick in the second bor, Althoughthe lostnote in the bor (G$)is not in the G wholetone scole,it servesos o leodingtone to the Sth of CmojT(G) in the lostbor, Dm7
@ Exompte 52 Thisii-V-llinein Bbbeginswith o Pot Mortino-inspired Cm7 lineond then movesinto o descendingwholeto the root of BbmojT. lt hosseverolconsecutivestring-ougmented tone/ougmentedlineoverthe F7thot resolves ond mojor 7th orpeggios,which con be chollengingto pick, Cm7
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@ Exomple 53 Thisfinolexompledemonstrotes usingchromoticpossingnotesbetween scoletonesto give o bebop flovor to the line,I olsoincludedo few rhythmsto breok up the lineto moke it more musicol.Thepossingnotesin the whole-tone(D7)ore ploced ofter the C, Gf, E,ond lowerC, lf you tried to odd possingnotesbetween everyscoletone, you might losethe whole-tonesound,ending up with nothingmore thon o chromoticscole. Am7
Usingfhe Whole-ToneOver the ll7 Anotherpopulorlocotionfor usingthe whole-toneisover the ll7,Thell7 iso very common chord usedin hundredsof ioz., bossonovo, ond pop tunes,Tunessuchos "TheGirlFromlponemq" ond .-Toke the A Troin"useo ll7 os o primorychord in the progression. colled o secondorydominont,the ll7 iso ii (minor7th) chonged to dominont.In mony instonces,it doesn't resolvein the some woy os o V chord but is stillo condidote for on olteredscolesuchos whole-tone,In foct, the whole-toneond melodicminor(up o Sth)ore the two scolesof choice for the ll7,
@ Example 54:II7 progressionproctice Trock Here' osshorteight-borprogresionfeoturingthe ll7in bors3 ond 4,I've olsoincludedo flot-fivesubstitute (Db705)for G7) in bor 8. Alsoshownore s0ggestedscoles. TheCD proctice trock for thisprogression iso bossonovo feel in o mediumtempo, Don't feet obligoted to ploy the whole-tonefor the entirebor (or two). Youcon switchbetween the bosic scoleond whole-toneif you like.Forexomple:for D7,useeitherD whole-toneor D Mixolydion(G mojor),
D7 il7
C mojor scole
D whole-tone
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G Mixolydion (C moj) G whole-tone
C mojor
Dbwhole-tone
@ Exampte55:II7 ProgressionSolo*l Agoin,juststortwith eosy rhythmswhile plocing Now for o few exomplesof solosover the ll7 progression. melodic ideosond o few intervolliclicksnot fovorite more emphosison the melody.l've includedsome only for the whole-tonebut olsoover the mojTond m7 scoles. Thefirstone wos writienusingeosy-going8th notesond hosseverolclossicjoz motifs.
CmojT
@ Exomple 56:II7 ProgressionSolo*2 Nextiso more oggressiveond chollengingl6th-notesoloover the some progression, demonstrotingthe useof the some sequencewith differentscoles,Theopening CmojTriffisbosed on o six-notesequence olong with o few vqriotions, Thesequenceisrepeoted in bor 3 (beot 2) with the D whole-tone,Bors5 through7 feotureo ii-V-llinein C thot includeson interesting whole-tonelineover the G7, lt's o G wholetone ployed with olternoting4th intervolsobove eoch scoletone. Thelineretoinso whole-toneflovoreven though the upper intervqlsore out of the scole,In foct, these upper intervolsform the other (Gfi)whole-tone scole,lt could even be lobeledo chromoticscolesinceoll l2 tonesos sounded.Thesolofinisheswith o whole-toneline,which ismode up of ougmentedtriodsmovingup b5intervols. CmojT
Dm7
UNIT| 5: ModernUsesof the Whole-Tone-SlqlicChords Let'sexplorethe useof whole-tonein o few contempororysituqtions, When usedin o modernjoz. ond fusionstyle,the whole-toneissometimesployed over stoticchords,Stotic dominontprogressions stond out os o poputorcontext for opplyingthe scole. whole-tonesoundscon be slightlyhinted of or highlyemphosizedin o solo.Agoin, on importontospect to consideristhe styleof musicyou ore ploying,Don't try to ploy o hip whole-tonelick in the middle of o troditionolbluessolojustbecouseyou hoppen to be on your fovoritedominontchord. Also,with thisideo, foke core not to folselysignolo resolution to onotherchord (A7 resolvingto D, for exomple),
@ Exampte57 Thefirstexompleiso nice littleswing/beboplinefor o stqtic Bb7.ltdemonstrotes hin1ngot the whole-tone for effect (secondbor)'Thelinethen flowsbock into o simpleBb7soundingideo in the third bor to finishthe lick.
@ exampte58 Thenext exompleiso bosicwhole-tonesequence,but sincethe notureof it emphosizes the 3rd ond b7th. it workswell over o stoticA7.
@ Exampte59 Here'so hip litflelinegood for eithero stoticor functioning AZ, lt combinesthe whole-tonewith o few ougmented shopes.
@ Exampte60 only in o jozz-siyle bluesgroove con you get owoy with o lick likethisnext exomple, stortingwith o btuesy opening linefor C7, we switchto o whole-tonephrosein the second bor.
UNIT| 6: The
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Theguitorfingerboordiso mogic ploce when it comes to symmetricolscoles, Becousethe fingerboordis loid out in itsown symmetricolform,it'so noturolbreedingploce for on unlimitedomount of ideoswith thr diminishedond whole-tonescoles'shortmelodiescon be inventedond moved ond repeoted in ony num ber of intervollicdirections,forminglong interestinglines,Visuolshopescon olsobe explored. As for os the whole-tonescole goes,it's importontto visuolizeond leornthe vorious intervolsthot ore pres ent withinthe scole'Whole-steps, mojor3rds,flot Sths,ougmented Sths,ond m7thscomprisethe wholetone scole' Belowiso fingerboorQgrophic showingthe intervolsbuiltfrom the root in o whote-tonescole beginningon A.
@ Exampte6tA
whot's interestingisthe foct thqt no motter whot note in the scoleyou stort on, you con stillploy ony of the intervolsup or down from thot note ond stillremoinin the whole-tonescole.(Don't forget thot guitoris need to moke the properodjustmentsto the intervolswhen usingthe 2nd (B) stringond subsequenfty the lsi (E)due to the tuningdifference,)
Example6l B: Wholefone tnterval Study Here'so littleexercise/lick to help you leornthe intervols, A good gool isto leornthisexercisewith the
in exompre ooou.lbutorsoonrhe3rd,4rh,ondSrhstrins i::::T"1'::tj::::Y:i]Pjll ill!9: ls It con olsobe ployed on only two strings for o ffre finger-stretching woke-upexercise,
Anothercool coincidenceregordingthe whole-tone'sintervolsisthot you con stockthem. Forexomple,if you ployed o stockof severolmojor3rd intervols,one on top of the other,the noteswould stillstoywithin the scole.(l-hiswould octuollybe the ougmented orpeggiowe leornedeorlier,)lf we stockedb5intervols or ougmentedSths,we would get the some result:oll noteswillstillbe in the scole.Whot would hoppen if We'd end up with the whole-tonescole,of course! we stockedseverolmojor2nd intervols? ond ore One very importontthing obout intervolsto remember-they ore music'sversionof meosurements the some descendingos oscending,Theshopesstoyexoctlythe some,An ougmentedSthobove C, for exomple,isGil,but on ougmentedSth below C isE.Or o mojor3rd obove A isC* whileo mojor3rd below A isF,Onlythe b5intervol,which isthe obsolutemidpointof qn octove, producesthe some note either obove or below o given tone. A bsthobove ond below D ore both Ab,Be sureyou understondthe workingsof intervolsond how they loy on the fingerboord. Becouseof the fingerwith the whole-tonescole?SHAPESI \!hot does oll of thishove to do with improvising instrumentolist no thot other with this scole bcord'svisuolgeometry,guitorployerscon inventmelody lines v,ould ever thinkof,
Example6l C: Whole-ToneFingerboard fingerboordgrophic below, lt'sthe entirefingerboordshowingthe whole-tone Lookqt the weird-looking sccle on everyfret,everystring,Justlook of the numberof geometricshopesyou con spot rightowoy, Lockof it in termsof chordsos well os single-noteideos,
A tot of good ployershove come up with uniqueideoslookingof the fingerboordthiswoy, They'vefound unusuolhormonizedchord voicings,orpeggios,ond o weolth of single-noteideos.Tryit yourself,Justtoke o pencilond circlesomeshopesor potterns,Thenploy them. One potternthot jumped out ot me when studyingthiswhole-tonefingerboordisthe mony X shopes.I workedout severollinesby ployingthe X'sond movingthem oroundthe fingerboord.
56
P Exampte62A: Three$triWpne
Thenext "
Or how obout o four-string u"
X Shape _string X shope,
ne X Shope
@ Exampte 63 Nextoresomeof my fovoritelinesusingthese X shopes,Usingthe somesix-note X shopeos Exompl e 62A,
once reoch lmfil:?nj,ffJ:H::#Tl:%ffi,m:ri#;;rx'o""'J',."Jojor3rds rhe vou rop
@ Exompte64
riis one ison eight-noteX shope thot isolsorepeoted up mojor3rds.lt requireso trickypickingpottern, 3eginwith on upstrokeon the firstnote ond olternote-pickthe followingseven notes.Thiscompletesone s^ope' Beforemovingon, proctice thisfirsteight-notepottern severoltimesto get the pickingdown,
@ Cxompte05 --s'to see if we con octuollyploy it, here'sq four-string X-shopeline,lt's difficultto pick due to the ropid s"'9 chongesond tough on the left hond becouseof the stretches,Butgo for it onywoyl
Here'so quick story:I showedo similor whole-tonegrophic fingerboordto o student of GITone doy when we were workingon whole-toneideos, Thestudent-tookone l6ok of tfre neck ond soid, ..cooll,,ond immediotelyployed the next exomplewithout missingo note, Hejustwotched the neck diogrom ond ployed. I wos omozed.
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Exampre66: GeometricF whore-fone$uper-Lick
rhis|inei''i erboord.StortwiththeFtoGonthe 5th string'the Ebtof on the 4th string,ond then the F to oon the lst itring.Thenmove :ne some with the 5th' 3rd,ond 2nd up o fret qnd do strings,Now move up onotherfret ond ploy the some l2-note sequenceogoin' lt's o greot string-skipping exercise,Youcon eitherleornit from the musicond tqb below or look bock ot the neck diogroni ond ptoy it visuolly, sure'thisiso bit of on extremeexomple of the kindsof ideosthot con be discoveredgeometricolly, nope ii wiilinspireyou to come up with your but I own inventions,
uNlr 17=Diminishedqnd whole-ToneLines ''e includedthislostsectionto showyou o few more of my fovoritediminishedqnd whole-tonelicksond " cks'Mostcon be usedin ony situotion thot collsfor o porticulorscole,from stoticchordsto ll-V-lprogresions, Scmeore writtenwithoutchord symbolsbecousethey con be ployed over mony differentchords,
@ Example67
We'llkickthingsoff with o good C7 lineusingthe diminishedscole.Beginnlngwlth o bebop phrose,it winds throughthe C dominontdiminishedscole before finishingup with o bluesriff. .
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@ Example68A:AscendingA WhobfLne pdtern Reversed Thenexttwo whole-tonelickssoundsurprisingly cool for how simirlethey ore. I leornedthem from o student who wos tryingto work out the whole-tonepottern but didn't understondthe fingerboorddiogrom I showedhim' Going up the scole,he ployed the pottern reversedstortingwith the highestnote on every string,lt soundedgreot! Thefollowinglinesore simplythe firstwhole-tonepottern (Exomple4lo) with the noteson eoch stringployed in reverseorder,Check'em outl
Example 688: DescendingA whore-Tonepoltern Reversed
60
@ Example69 Nextiso good string-skipping whole-toneline usingougmented sth intervolsmovingup bSths, But,surprisingly,thislineisolsoin the diminishedscoletoo, Ployit over A7, thinkingof it os q whole-tone,Ployit over 87,thinkingof it os diminished, Youcon olsoturn thislick into o trickychops-building exerciseby repeoting it severoltimes,(Youget extrq credit for moving it up or down two fretsevery time for the whole-tone ond three fretsfor the diminished.)
@ nxampte7O As with ony scole,it's o common techniqueto odd possingor neighbortonesbetween scoletones. Possing tonescon smoothout ond extend wholeitoneideos,Thesecretisto odd only o few to retointhe soundof the scole,lf you odd too mony,things-mightstod te soundoverlychromotic,Thenext line iso shortexompleof odding o few possingnotesto o whole-tor1e melody,lt soundsgreot over G7, but olsotry it over Eb7,87,ond, whot the heck, over oll sixdominontsin thiswhole-tonekey! G705)
@ Exampte7l
iromple 7l demonstrotesrhythmicsyncopotionodded to o diminishedscolephrose,Breokingup lineslike -.rs one, especiollysequences,con odd o lot of musicolenergyqnd ottitude,Leornthe bosicsequence frrst,which stortson the second note of the firstbor. lt oscendsto high Ebbefore reversingbock down to rne finol bor,Thenfigureout the rhythms,Once you understondthem, you'llbe oble to odd the some syncopotion whereveryou wont in the sequence
@ Exampte72
ployed I hod to throw in one of my secretoctove-displocedwhole-tonelines.lt'sjustthe notesof the scole D, we go up in order(storfingon C) but with certoinnotesployed on octove higher,once we hii the high qbout olternote-picked, be pickingthisline.lt con bock down the some woy, Thereore o few woysto go on the C ond is to begin with two downstrokes opprooch but stortwith on upstrokeon the low C, Another the high G$' on upstroke one D, then one upstrokeon the high E,then one downstrokeon the F$,ond then Thenrepeot:down, down, up, down, up, etc'
Thenext exompledemonstroteshow you con usethe previous linein o ii-v-lprogression. Followingthe Dm7 melody in the firstbor,the octove-displocedwhoie-tone beginson the low G, Thistime, offer the first five notes ore ployed (up to Eb),the pottern is moved up o whole step (two frets)ond ployeo ogoin beginning on low A, Theline resolveson the 3rd of Cmoj7, Dm7
^1 vl
CmojT
@ Exampte74 Applyingthe some five-noteoctove-displocedsequence to the diminishedscole,the next line isfor o ii_V_l in Bb'After the cm7 bor,which iso nice jozzdescendingphrose, the octove-displocedGbdiminished beginswith the losttwo notesof the.firslbor (c to,D). *Youcon olsothink of it os five-noteshopesployed three timeswith the firststortingon c (secono+o--tbsi note in bor l), the next on A (fourthnote of bor2), ond the next on Ff (ninth note in bor 2), ; Cm7
BbmojT
@ Exompte73
Finolly,here'so couple of whot you might coll speed licksfor both the whole-tone ond diminishedscoles, Thefirststortsos on oscendingwhole-toneorpeggiosequence,Butwhen it reqchesthe 2nd string,we toke o rightturn ond heqd up the neck,toking odvontoge of the mojor-3rdtuningbetween the G onO g strings. Youcon continueup the two stringsos long ond for os you wont, Also,try chongingthe rhythms whileyol ploy it, Move oll the notesto the right,plocing the firstnote (A) on the firstdownbeot of bor 2, Or ploy the lineos triplets, A705)
@ Example76 Thediminished-speedversiontokesodvontoge of the mojor-6thtuning between the 4th ond 2nd strings ond between the 3rd ond lst. Theline requireso lot of string-skipping but mqkeso burningoscending(or descending)diminishedlick.In o solo,you might only need to ploy os litfleos o singlebor or so to get the point ocross, E7(te)
FinqlNoles Thonkyou for checkingoui thisexplorotion of the diminishedond whole-tonescoles, some ideosthot con benefityour ploying, I hope you.ve found good ployer'choose o limitednumber Don't feel thot you mustconquer everythingin thisbook to be o of potterns,lines,ond conceptsond work hord on them, Then, mosl importont'get them into your ploying os soonos possibre, Not mony proyers(incrudingme) con on o doily bosisevery ideo in o ooot< use such os thisone, However,do noi negrect thesescoles'os well os other scoles reorningthe theoryof how ond theirchords,work in music.And when proctice time isdone for ihe doy' put on some recordings your_fovorite of ployers.Listen.or"rrriv ror how they usethese sounds.
il;#fi:,1""f;:".[:T:f"3:i[t5T:fiiliiiil[i;J,.5:#,1,,",n*"d ideos rhe sooner you -Don Mock
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K REY IIIIORE SEC REIS OTTHEtrl[S moc
In this book, legendaryguitaristand educa_ tor Don Mock exposes the closely guarded "secret" soloing techniques of jizz and rock giants, revealingeasy ways to create ultra-cool sounding lines and patterns by substituting simple diminished and auomented patterns over dominant 7th chord!. Containing over 70 music examples, lines, licks and patterns, this book/CD package approachesthe potentially com_ plex topics of soloing and scale substitution from a player's perspective, immedi_ ately presenting useful tines and patterns that you can use now. All music is writ_ ten in and all music examplesare contained on the
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GuitorSecrets-Melodk MinorRevealed (0l SSB) -HormonicMinorReveoleA GuitorSecrets pOS ig)
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