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Guitqr Secretsr
Gonlenls:
l: INTRODUCTION., SECTION Unit t: Unit 2:

metricqlScqlesReveqled
Poge * """'4 """"5 """""""6 CD trock """""'1 """"""3

Scoles Modes of fhe Diminishedond Whole'Tone I A-l C ExomPles Dominont Tfhs' Stqtic ond Functioning 2A-28 ExomPles

SCATE ll: THEDIMINISHED SECTION """""'7 Scqle' of fhe Diminished Fingerings Unit 3: """""""'''""4 Exomplei3A-3c Scqle...,''"""'""""I0 How lo leorn qnd Prqcticethe Diminished Unit4: """"""""'5 Trock C7 Proctice """""'I I Scqle Sequences.,,, Diminished Unit5: """"""""6-15 ,,,:,.*.,,.'i""""""' 4s - . l 3 . , ' . , ,. . , Exomple -" r" "" r" " " " ' 1 9 D i m i n i s h eA d p e g g i o s , . , ' . , ' , , , , ' , . - . , , , , , , " " " " ; " " ' r" U n i t6 : ""' ro """)""""" 4A-l 4E.,'. E x o m p l els """"""2.| Scole Usingthe Diminished Unif 7: ""'17-24 15-22 ExomPles """""'27 Six-NofeDiminishedShqpes Unit 8: """"'25-26 23-24 ExomPles """29 Moior Triods in the DiminishedScqle Unil 9: """"27-36 25-g4 ExomPles '.,,"'.,...34 scqle over stqtic chords unif l0: using the Diminished "37-42 35-40 ExorriPles SCATE lll: THEWHOTE-TONE SECTION """""'37 Scole of the Whole-Tone U n i tI l : Fingerings 41F.-41E,,,,.,.,..,, exJmptes """"""""41 ScqleSequences.,.,,., Unif l2: Whole-Tone 42-47 Exomples """'M ArPeggios', Unit l3: Whole-Tone 48A-48E Exomples """""""46 Scqle.,., Unii l4: Usingfhe Whole-Tone Exoriples 49-56 Unit l5: Modern Usesof the Whole-Ione Stolic Chords""""""" """"'52 57-60 Exomples '54 Unit | 6: The Fingerboqrd- SymmetricqlScoles Geometric Ployground 6l-66 Exomples ""'59 U n i l l 7 : Diminishedond Whole-ToneLines 67-76 Exomples

""""'43-45 """""'46-5.| """"""'52 """"""53-59 """""'60-63 ""'64-69 ""'70-79

Foreword
welcome Io Symmetricotscoles Reveoled,Leorninghow to ploy ond usescoleshos olwoys been o lorge porf of every guitorployer'sproctice schedule,Ployers hove spentcounfless hoursprocticingscolesup ond down oll over the guitor, sometimes with greot success ond sometimes with 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 seenhundreds of students struggle with the some problems thot I foced when gling throughthe process of leorninghow to ploy ond usescoles, After mony yeorsof experience, both pldyingond teoching,l've become o big believerin cutting through the nonsense getting ond to the point of it oll,which isployingmusic, Thepresentotion ond ideosin thisbook ore definitely from o ployer'sperspective. We're not going to get too in-depthinto the history ond clossicol theoryof the diminished ond whole-tonescoles, We,llfocus more on theirusesin contemporory styles likeblues,rock,fusion, ond )ozz.Don't get me wrong;there willbe no shortcuts here when it comesto modern musictheory.As for os l'm concerned,oll guitorployersmust hove o good workingknowledgeof hormonyond theoryond the obilityto reod music, even if it,sonly simple chord chorts,

ThreeSfepsto Success
Leorning to improvise con be thought of os o three-rtdpJro""rr. Thefirststep istypicollythe teorning of scoles, Using eitherthe key center opprooch or the modol opprodch,students shouldleornot leosto few useful fingerings of the mojorscole ond be oble to ploy them in dtt t<eys, Also,in thisfirststep,ployersneed to leorn obout hormonyond theoryto help understond which scolefitsover which chord. Armed with sometheory knowledge, students con immediotely begin ployingover even dif1cultchord chongesby simply switching to the correctscoleor key center for the given chord, Mostployers ofter o period of time willbegin to find thisfirststep limiting. Theymoy soy thot they con,t seemto moke theirsolos soundlikethe chords,thot they soundtoo scolor. Movingon to step two, we introduceorpeggiosos o tool to creote chord sounds, Mixingorpeggios with our scolesstorts mokingour solos more hormonicolly intelligent, Stepthree isthe finolfrontier of improvising, os we now stortreollyleorningmugc. Sofor we,ve been using scolesond orpeggiosbut moy not been oble to moke our solos soundmelodic,Now it'stime to leorn melodies. Mostof us need to leorno repertoire of melodic lines to usewhen we improvise. Almostevery one of our fovorite ployershos,of one time or onother,leqrned linesby copying recordings or tronscriptions. l've met mony students who tell me they don't wont to soundlikeonyone elseond feel they shouldn,t copy other ployers, Theysoonreolize thot the rood to originolity goes throughthe lond of copying licks, phrosing, ond conceptsusedby fovoriteployers, Eventuolly, theseinfluences merge togetherinto your own originol style. One lostthing:A common misconception obout improvising isthe phrose"ployingwhot you heor.,, Mony ployers soy they do this,leodingstudents to thinkthot they simplymoke up musicon the spot,Whot they ore reollysoyingisthot they ore ployingwhot they know, lmprovising isthe spontoneous performonceof ideosthot come to you in the midstof soloing, you moy not know oheod of time whot you ore going to ploy, but ormed with scoles, orpeggios, melodic ideos, ond theoreticolconcepts,you con ploy o creotiveond spontoneous improvised solo,

Introduction
This book deolswith the two mostusedsymmetricol scoles-the diminished ond whole-tone, Symmetricol scolesore bestdefined os hovingrepetitive or equol-notespocingthot repeotsthroughoutthe octove, For exomple,the whole-tonescqleisexoctlywhot the nqme indicotes; it'so scole builten1rely of whole tones, Thesymmetry of o diminished scole iso pottern of olternoting whole stepsond holf steps, four timesper octove. one greot thing obout symmetricol scolesisthqt they ore very guitor-friendly ond eosyto memorize. The fingerboordiso visuol, grophic instrument similor to o slide-rule, In mostcoses,you con get by with justone fingering for eoch of thesescqlesond then repeot the some fingering everytwo frets(whole-tone) or three frets(diminished) up or down the fingerboord, Guitorployers con eosity discoverhundreds of unique melodicond hormonicideosthot ore not os obviouson other instruments likekeyboords, reeds,or bross, Bothof thesescolesore very useful ond creotivetoolsused by improvisers, Their simplicity con be deceptive; it'solmostsurprising how thesesimplescqlescon providesucho complexsound,In trqdition ol jou, they provideo controsting flovorogoinstfunctionoldominontchords.Modernployers exploitthesescoles to odd on outsidesoundto contemporory jou, rock,ond even blues. ln Symmetricol Sco/es you'll leornthe most useful Reveqled scole potternsond exploresequences ond orpeggioswithinthe scoles'Nextwe'll leornthe secrets of how to best usethe scoles, followedby severol of my fovoritemelodiclines, I . ; We'llbegin eoch of the two sections by firstleorningsome good,fingerings for eoch scole,lf you olreody know o fingering or two, stickwith them or feel free to modifyony oi the iingerings here to suityour techniqueond style'Theultimotegool isto be oble to ploy the porticulor scole onywhere on the guitorin ony t,^,,
KUV.

One more thing obout the fingerings: Youore limitedonly by the lowestond highestnoteson the guitor. Think of scolesos hovingno beginningond no end. Don't be too concernedwith the bottom or top notes of eoch individuol pottern,You'llfind thot eoch hos q differentstorting ond ending note becouseof the noturolronge of the strings, Scoles ore simplyo row of notes,ond you shouldleornto controlthe scole by being oble to stortqnd end on ony note, Eventuolly, individuol scolefingerings willbegin to blend togetherintJlorger potternsuntil finolly the 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 vorious topicsore ond if they contoin informotion you olreodyknow,you shouldreod every poge corefully, but it'sokoy to stortwith ony sectionin the book thot interests you,

Unit l: Modes of the Diminishedqnd Whole-Tone Scqles

Using the term mode when discussing symmetricol scolesmqy seemstronge,but modesoren't justfound in mojorscqles. All scoles, includingmelodicond hormonicminorond even the pentotonic,hove modes contoinedwithinthem, Of our two symmetricol scoles, the diminished hostwo modeswhilethe whole-tone hosjustone, Thefirstmode of the diminished scolebegins, when oscending, with q whole step from the firstnote or root, lnsteodof givingit someweird Greeknome, we'lljustcoll the firstmode Ihe diminished scole.

@l ExomptelA: C Diminished 6cate(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)

/ !

I/2step I lstep step l/2step I/2 step I lsfep sfep l/2sfep tstep l/2step tstep /2 step I

Don't let thismode business with the diminished scole confuseyou. Bothmodesore still diminished scoles ond ore ployed exoctlythe some,Onlythe storting notesore different, Youcon ploy both diminished pottern,juststortwith eitherthe whole-step modeswith one fingering or holf-step scqle,Youdon't wont to confuseyour fingers into thinking there ore two differentpotterns, Thereosonwe ore even considering both modes isto moke the scole'sopplicotioneosier, In improvising, you willnot only ploy the diminished scoleover diminished chords,but more often thon not you will olso ploy it over dominont7th chords, Thinking in 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 possible mode, No motterwhich note you stort on in o whole-tonescole,the resulting scolewillolwoysbe the some,

I step

I sfep

I sfep

I sfep

I step

DominqnlTths Unit2: Stqlic qnd Functioning

Thereore two primorytypes of dominont chordsthot ore mostlydefined by their context, or function,in the progression-stotic ond functioning dominont7ih chords. Troditionolly, chordsthot leod to other chordsby creotingtension, dominontchordsfunctionos tronsition by moveisthe desireto heor thot tensionresolved Thenoturolresponse to thistension, colled dissononce, os the functioning dominonts, ment to onother chord. l'll referto these dominqnt chords This tensionlimits the omount of time thesechordscon be ployed before movingto the next chord. Most ploy dominonts, to o home chord up o 4th. Toget o feel of thesefunctioning of the time they willresolve 7th resolved, the dominont chord being to E7 to Am7 listen to the dissononce of C7 FmojT or ond ond ore not usedto leod to other chords,Stoticdominonts Sfotic(stotionory) dominontsore not os dissonont vomps,or extendedgrooves, where the tune moy stoy on the chord for o long period of time, ore usuolly Theycon be extended(C7, C9,Cl 1,Cl3, etc.) dominonts, All dominontchordscon be usedos functioning (C7CI5), con olwoysbe extended but not usuolly etc.), Stotic dominont chords ond oltered C9(b5), Cl3(b9), Theonly exceptionsore the il9ond the b5, often odd too much dissononce, oltered becouse the olterotions dominontchords, olteredsounds usedover functioning scolesore troditionolly considered Symmetricol ' providing theirown uniquekindof tension, , ;

Example2A
scole contoinsevery oltered tone but the $5(or bl3), Notice how the dominont diminished b7t root 3rd sth Dominqnl 7th Chord: sth 6th bTth il9 3rd b5 Dominonl DiminishedScole*: root b9
. Diminished scolestortingwith o holf step,

Example 28
sco/e,The b5isthe from the dominont diminished The whole-tone scolecontoinsthe f5 thot wos missing thot's common to both scoles. only olterotion sth bTrh 3rd Dominonf 7fh Chord: root b7th root 2nd 3rd b5 Whole-ToneScqle: ils

Scqle
Probobly the mostpopulorpotternfor o diminished scole isshownbelow, lt,so verticolpottern usingthree notesper string thot coverso littlemore thon two octoves.on ony string there'solwoyso whole step followed by o holf step or vice versosponning three frets. At thispoint' don't be concernedwith the storting note, 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

lt odds o Eb, Thenext pottern isexocflythe some os the firstbut hostwo qdded notes:o low B ond o high iswhy the root of o dominont7th chord' This bit more ronge to the scole,but more importont,it includes colled the dominontdiminished with o holf step rotherthon o whole step,issometimes thispottern,which storts scole, Toodd of the dominontdiminished, for the oscendingond descendingversions Comporethe fingerings four noteson one Ploying you hove to ploy four noteson the lst ond 6th strings, the low B ond the high Eb to shiftfrom the your finger 4th try using when oscending, for guitorists, string con presentsome chollenges useyour lst fingerto shiftbetween the lqsttwo notes(4-3-l-l)' descending, 3rd to 4th note (1-2-4-4).When ond momentum' willhove more strength with the lostnote on the string Thelogic behindthisisthot shifting qnotherwqy, go for it' And yes,someguitorists This ruleisnot set in stone;if you feel you con ploy it fingering do ploy the four noteswith four seporotefingers' iso very imporfontguitortechnique for you, Shifting ond oniveof the bestfingering Do someexperimenting scolesbut olsofor other scolesond shopes' not onlvfor diminished

Exampte38: Dominan] DiminishedScale

v ^
v

x x

^
v

^ -

^
v

v ^
v

A,

v ^ v v

^ rt ^

Example3C: Horizontal DominanlDiminished ScalePattern

pottern Whilewe ore on the subjectof four-note-per-string fingerings, the followinghorizontol diminished populor uses thisfingering on everystring, Horizontol fingerings emphosize the symmetry This of thesescoles, pottern isuseful for long melodiclinesond chonging positions. I fingerit the some woy os the lostpottern: 1-2-4-4 when oscending ond 4-3-l-l when descending, lf the diminished scole is new to you, you might wont to skipthispotternfor now ond concentroteon the firsttwo fingerings,
G Dominont Diminished Scole

v
^ ^
v
v

,4,
A

^ v ^

v ^
v

^
v

x ^

v ^
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x x

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E
o

Unit4: How lo Leqrnqnd Prqclicethe Diminished Scole

Thereore bosicolly iwo importontthingsto proctice:techniqueond ploying,Building up techniqueis you con do onywhere,suchos whilewotching TVor sittingin the pork,whileyou ploy things something over ond over,Procticing ployingisusingthe thingsyou've worked out in o reol musicolployingsituotion, Ploying olong with music-minus-one topes,your friends, or even o drum mochinecon simulote performonce. This isthe 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 dominontdiminished scole olong with the G7 groove proctice trock, listen to how it sounds ond relotes to the chord,Thediminished scole isolmostolwoysployed over o functioning dominont 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 possible by procticingthe scoles from differentstorting notesin the middle of the scole.Thegool isto memorize the scolesos o complete group of notesin which you con stortond stop oqywhere,
".'

you shouldbe lookingfor difficultfingerings Technicolly, or pickingobstocles ond ploce some extro emphosis on theseoreos,Musicolly, you shouldtry to hove some fun with thesescolesby odding rhythmic voriotions ond occents.

Unit5: Diminished ScqleSequences

l'm not o big believerin exercises. I would rothershowyou some ideosthot ore not only good for building techniquebut ore olsomelodicond interesting enough 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, scqlesequences con be powerfulmelodictoolsfor improv6ing if usedproperly, Sequences ore o process of ployingthe notesof o scole in o mothemoticolorder,Typicolly ployed os descendingor oscendinglines, sequences con be mode up of two or more notes.Sequences con olsobe o significont help in leorning scole potternsond con offer somevery chollenging pickingond fingering movements, . Due to theirsymmetricol potterns, diminished ond whole-tonescolesore noturols for opplyingsequences. Thediminished scoleoffersmore cool sounding sequences thon 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 ployingwithoutjeopordizing the onesyou firstleorned.lt's much better to hove o few thot you con useinsteodof severol thot you're struggling with ond con't quite pioy, Severolof the sequence exomplesore shownwith o suggestedchord thot the line fitsover, However,one importontthing obout diminished melodies isthot they willolwoyswork over severol other chordstoo, Loter, we willexplorehow to usethe diminished scole in detoil.Butfor now, know thot if o sequenceis shownfor G7, for exomple,thot linewillolsofit over lb7, Gb7,ond E7.These four chordsore qll equolly spoced q minor3rd oport ond oll occept the somcidimlnished scole.
a

E) Exomple4
Let'sbegin with o few closic diminished sequences, A lineeverysoxployerknowsisthisone for G diminished. lt's builtwiih the scoletonesin thisorder:2-l-4-3-6-5. etc, Mony of the sequences ond licksin the diminished scole include4th intervols. This linewillhelp you moster the technique of fingering4thswith o bone or two notes ployed with one finger.Thefingerings ore nototed, lf you hove borringwith your 4th finger, the fingerings con be ployed, in mony instonces, with o combinotion of your 3rd ond 4th fingers.

tizs -

aJ Exdmple 5
Anotherwell-known diminished sequenceisthisdescendinglinefor the dominontdiminished scole for Bl. Your4th fingerwillget o good workoutwith thisone,

t N -

L2)Example6
Thenextsequenceissimilor to the firstone, A good descendingline,it contoinsseverol fourthintervols ond follows thisnote sequence:6-5-8-7-4-3-6-5, etc, lt's ployed oroundthe 8th fret ond mokeso good linefor C7,

Example6A
Sequences such os thisone con be olteredrhythmicolly to creOte\Cifferent occents,Forexomple,disploce oll of the notesby shifting them to the left one l6th note eorlier, mokingthe firstnote o pickup,Continueto repeot thisprocedure,mokingthe firsttwo notesthe pickup ond then mokingthe firstthree notesthe pickup,

ond l6th-note triplets, 8th-note in Exomple6A into8th notes, Also, convertExomple6 ond eoch voriotion triplets,
8th-notetriplets:

, R -

&A Example 7
Thesequencein Exomple7 isqn oscending linefor the A diminished scole,This linecon be ployed,positionwise,o few differentwoys,Showniso pottern designedto keep the sequence in o relo1vever1col position. However, it requires o bit of o stretchwhen you reoch the 4th string,
AdimT

@ ExampteI
Youmight find it eqsierto ploy the lostsequencein o horizontolfoshion usingthe 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

t6

@ Exompte 9
sequencethot is isthisdescendingline.lt's o repeotingsix-note sequences One of my fovoritediminished setswhilestoyingin the scole pottern.Youmight find it eosierto pick by designedto followodjocent string the entireline, on the firstnote (C) ond then olternote-pick storting with o downstroke

@ Examptel0
Although scole in termsof intervols, when we thinkof the diminished A weolth of ideosisot our fingertips from the woy in o differenl we willorriveof them sequences, considered ore still the followingexomples (3rds, etc,) obove scole ond orpeggio 4ths,Sths, Byplocing voriousintervols nume1colpotternsshowneorlier, sounds. uniquediminished severol tones,we con discover ore ploced obove the four notesof o coincidenceoccurswhen certoin intervols In foct, on interesting eight notesodd up to oll the notesin o Theresulting 7th orpeggio(see Unit5 on orpeggios), diminished obove the hotesof o dimTth perfect 7th intervol minor or Sth, scole.Plocingo mojor3rd, diminished scole,Ploceo 4th, minor6th, or mojor7th ond you get the in o dominontdiminished orpeggio results scqle, diminished ploced obove the four notesof o An exompleof thisconcept isthisusefulline builtfrom mojor3rd intervols q pickingtwistto the l've odded sequence. iso G dominontdiminished GdimTorpeggio.Theresult ore ployed, the order in which the intervols descendingport of thislineby olternoting

@ Examplet I
Theintervol sequencein Exomple I I issimilor to the lostbut usesSth intervols, Here,Sthsore stocked obove the four nofesof on AdimTorpeggio,Anotherwoy you con look of thislineisSth intervols moving up minor3rds,Either woy, the result iso greot linefor A7,

@ Example12
Combiningintervols con creote interesting sounds olso.This exomplecombinesolternoting 4thsond mojor 3rds.I thinkof thissequenceos 4thsmovingup minor3rds, with olternoting 3rdsolsomoving up minor3rds. All resulting notesodd up to on E,G, Bb, or C$dominontdiminished scole,Thelinecon be ptoyeOnot only over E7,os shown,but olsoover G7, Bb7, or C*7,

sequencehos on offsetfeel due to itsfiveexomple,This Up next iso cholenging voriotionof the previous ployed o minor3rd oporf followedby o mojor3rd intervol two 4th intervols lt oeglns-with note phroses. the iop holf of the mojor 3rd intervolbecomes the stortingo whole step obove the stortingtone. However, times This creoteso five-notemelodythot is repeoted severol firstnote of onothergroup of 4th intervots, two 4th intervols the five-notemelody iso bit differentbut stilluses Descending, movingup bsthintervols, followedby o singlenote,

@ Exomple13

Unil6: Diminished Arpeggios

@ Examptet4A: C Diminished 7th Arpeggio
There ore o few veryuseful orpeggios foundin the diminished scole, Thediminished 7thorpeggio isthe mostcommon, lt'sbosicolly everyothernoteof the scolewitheoch noteo minor 3rdobovethe next,lt con be fingered o few woys, but let'sstortwiththispottern,

v
v

^
v

e v

^
v

o
O

o
^

^
v

A\

Thediminished 7th chord isthe only type resulting from the troditionol hormonizotion of the diminished scole (3rdsstockedon top of eoch scoletone). lf you hormonize the scole,the result willbe eight diminished 7ths, one builtoff eoch scoletone. Youmight find it interesting thot combiningtwo diminished 7th orpeggios, eithero holf or whole step opori, creotesthe eight notes of the diminished scole.This offerssome interesting improvising options. Let'sfirstlook ot onotherorpeggiofound in the diminished scole.This orpeggioison edited-downversion of the first, One woy to look ot it isthot it'sjustthe notesof o diminished 7th chord voicingon oll sixstrings, or b5intervols movingup mojor6ths,Either woy, it'so cool orpeggio but o bit trickyto ploy, Eventhough it's only one note per string, I still olternote-pick the orpeggio beginningwith o downstroke. lt con olsobe ployed usingo sweep-picking technique,Thefret-hondfingeringisolsoshown.

^
v

^
v

o
O

x
v

^
A
v

Example l4C: B Dominant DiminishedArpeggio

orpeggio.lt isbuiltwith the scole,here'so five-note-per-octove Drowingfrom the dominontdiminished of the scole.lt's o good orpeggiofor oltereddominonts' 3rd,Sth,ond bTth rooI,b2(b9),
87(be)

^ x
v

^
v

!t

^
tt

Example l4D: B Dominanl DiminishedSnape Arpeggio

vorio1onof the lostexompleisconstructedusingthe root,b2,3rd,ond Sth of the dominont An unusuol continues up o mojor6th ond repeoted.Theprocess four-noteshope isthen tronsposed scole,This diminished o thirdtime up to the 1ststring, B70e)
:r

^
!t

v v

^ ^
v

x
v

^
o

^ v

Example l4E: Flafted Sth Bb Diminished Arpeggio

By leovingout everyother note of the orpeggio isoctuollyo stockof b5intervols. Thefinol diminished orpeggio,A good left-hondfingerone-note-per-string 7th orpeggio,we get thisvery horizontol, diminished when descending. when oscendingond the reverse ing is I -2-3-1-3-4

b-

^
v

^ 5

Unit7: Usi

the Diminished Scqle

Thediminished scole,due to itsuniquetensionsound,isolmostolwoysusedos on olteredscole over functioningdominont7th chords, Youmoy be osking,"Aren't you supposed to ploy the diminished scole over diminished chords?"Theonswerisyes;however, we need to look o litfledeeper into diminished chords thot showup in tunes,Mostof the chordsore substituting for dominont7ths, Before we tolk obout usingthe scoleover dominonts, let'sfirstlookof diminished chords,In theory,o diminished chord iso three-notetriod with o root, minor 3rd, ond flotted, or diminished, Sih, Much more common in populormusicisthe diminished 7th cho?d, This iso four-noteversion with o root, minor3rd,ond flotted Sth ond 6th (correctlycolled o double-flotted or diminished 7th),All four notesore evenlyspoced,three holf steps(minor3rd) oport, Becouse oll four tonesore equollyspoced, ony note con be considered the root, This meonsthot Bdim7, qnd AbdimT. for exomple,isolsoDdim7,Fdim7, This exploins why we con slideo fingeringof o diminished 7th chord up or down three fretsond stillend up with the some chord,Theonly thing thot chonges isthe order or inverdonof the notes,not the notesthemselves, This principolworkshugelyin our fovor when it comes to opplyingthe diminished diminished scole.The scoleworksexoctlylikethe dimTchord on the guitorfingerboord, Slidethe finge1ngpottern up or down three fretsond you get the some scole,Theonly differenceisthe scole'srqnge (highest ond lowestnotes), In oddition,similor to the diminished chord, ony dimirlisniO scolecon 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 diminished scole, 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 B 1/2 C

Youcon see thot the scolefollows o symmetricol sequenceof olternoting whole ond holf steps,Becouse of this,the scole hos multipleroots,Besides being C, it's olsoon Eb, Gb,ond A diminished scote, How thisreollypoysoff to improvisers isthe foct thot every diminished sequence,orpeggio,lick,ond so on, con be ployed in four keys/positions on the fingerboordond still work over o given chord,This eliminotes the need to leorndiminished linesin more thon one position.

22

Example l5B: DiminishedScale over Dominsn] Tths

In modern musicstyles, dominontTthsore much more prominentthon dimTthchords.And in mony coses, scole, thesedominontTthsore primeplocesfor usto usethe diminished scoleto useover o dominont7th,Thetroditionql Thereore two woysto locote the conect diminished scoleo holf step obove the root of the domTthchord:Abdiminished opprooch isto ploy o diminished isessentiolly relqtethot B7(b9) Mony ployers scole for 87 ore o few exomples, scole tor G7 or C diminished relotionship between o domT ond o dim7. o CdimTchord.Theyolwoyskeep in mind thisholf-step for mony iswhot might be cdttedthe modol opprooch,Juststorton the root of the domT ond ploy Simpler coll thismode the scole leodingoff with o holf step rotherthon o whole step,Somemusicions o diminished scole,os mentionedeorlier, dominontdiminished the resultThegrophic includes scoleshowingthe whole ond holf steps, Belowiso B dominontdiminished ing 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

nomes,Thefour rootsore the hosfour possible scole,ony dominontdiminisQed Similor to the diminished isolsoD, F,ond Abdominontdiminished, So,B dominontdiminished lowernotesin the holf steps. Choosethe opprooch Whichof thesetwo opproochesisbest?lt's up to you. goth U.t the some results, scqlefor o domTth.lf it'seosierto thinkup o holf step thot helpsyou quicklylocote the conect diminished you rightout on go grob But if would rotherhove o scolethot storts scole, with thot. the diminished ond the root of the chord, usethe dominontdiminished,

23
h -

M Example 16: Usingihe DiminishedScale in ii-V-l Progressions

l'm sureby now you've testedthe soundof the diminished scoleover o dominont7th,You'veeven jommed over o domT vomp to proctice the scole,This isgreot, but proboblythe best ploce to stortopplying the diminished progression, scole isover the ii-V-l progression As you moy olreodyknow,the ii-V-l isthe moinstoy pop of iozzstondords ond music,lt's o simpleprogression thot incorporotes one of the most importontond essentiol ospectsof music: tensionond resolution, TheV in the progression isthe tension chord leodingushome to the I chord (resolution), Thell chord usuolly octs os o set-upchord workingwith the V, Belowiso ii-V-l in C, Suggested scolesorp shownbelow the stoff,
ii-V-l Progression in C Mojor Dm7 G7

D Dorion (C mojo)

G dom/dim (N diminished)

C mojor

Noticethot the chordsore in theirbosic 7th form,This ishow mostchortsqnd foke booksore written,The composerwilltypicollyleove it up to you to chooseextended or olteredvoicings of chords(Dm9,G.|3CI5), Cmoi6l9,etc,).Theonly timesyou'll likely see big scorychordslikethisore on musicchortsthot hove o specific orrongement where certoinolteredor extended.voicings ore colled for.

't r @ Example16A:ii-V-lin C PRACTICE TRACK .'

Puton the CD ii-V-l in C ProcticeTrockond try out the diminished scqleover 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 go, o good storting on the fingerboord ploce isoroundthe 3rd fret.Think of the common G7 voicingot the 3rd fret ond ploy the scolepotternthere,Youwillolsoneed to knowC mojorin thot qreo too, Whenyou've got thisposition pottern up o minorthird ond proctice the down o bit, slidethe diminished progression there.Locotethe C-mojorscolethere olsoto remoinin thot position. One secretisto pretend thot the Bb7, oI the 6th fret, isG7 ond referencethe diminished scoleoff of the Bb7, Tokethisideo o step furtherond pretendthe Db7, ot the 9th fret, isolsoG7, This iso good thinkingsubstitute becouseDb7isthe flot-fivesubstitute of G7. Go up onotherminor3rd to the l2th fret ond pretend E7isolsoG7.

: '

24

@ Examptet 7: ihV-l Lineswith the DiminishedScale

Now for o few ii-V-l lines feoturingthe diminished scole over the V, Mostore rhythmicolly simple, which mokesthem eosier to leorn,Once you get o few underyour fingers ond in your eors,you'll be oble to moke them your own, Soon,you'll be oble to moke slightrhythmicol modificqtions or odd vorious stylistic effects such os bends, hommers,pull-offs, ond sweeps, Let'sstortwith o simpleii-V-l linein G mojor.lt storts with on Am9 orpeggioleodinginto on Eb diminished lineover the D7 resolving to B,the 3rd of Gmoj7.
Am7 GmojT

@ Example18
Next iso ii-V-l line in C with two borson eoch cl'iofd,Twob.ors givesyou more time to develop on ideo on you con hove the similor eoch chord, Of course, benefitby ployingprogressions thot chonge everyfour beots or even everytwo beots if the tempo isslowenough, Thefirsttwo borsin thisexompledemonstrote o bebop lineover Dm7.TheAbdiminished is plqyed over G7 usingo few shope ideosresolving to Cmoj7.
Dm7

CmojT

@ Exampte t9
Exomplel9 isonotherlinein c, thistime using16ths, stortingin o higherregister, the firstphroseiso clqssic l6th-notetripletlickin D minor, over the G7, on Abdiminisheo orpeggiosequenceoscends up to o resolution on o highE.
Dm7 .\1

@ Exampte 20
Movingto the key of D, thislinefeoturesmojortriodsover the AZ,creoting on oltereddiminished sound, Thetriodsore Ff mojorond Eb mojor.(SeeUnit9 on mojortriodsin the diminished scole,)

@ Exampte 2t
Exomple 2l iso voriotionof o ii-V-l progression, similor to o turnoround, o Vl7 isodded to set up ond resolve bock to the ii' In thiscose A7(b9) follows CmojTond resolves to Dm7,which isfollowedbv G7 toking us bock to cmojT' This progression isii-v-l-v|7, A typicolturnoround is l-Vl7-ii-V, so, the melodic tines in this exomplecon be switchedoroundto work over o turnoround too, A few stylistic triplets ore included,inspired by ployers suchos pot Morlinoond Joe poss, os well os severol clossic bop phroses,
Dm7
\21

CmojT

A7(be)

@ Exampte 22
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) issometimes referred to os holf-diminished becousethe first three notesform o diminished triod.Althougho few otherscolesore commonlyused over it (Eb mojor,C hormonicminor, ond F melodic minorfor Dm7(b5)), the diminished isolsoo good choice, ForDm7(b5), useo D diminished scole.lt turnsout thot D diminished isthe some os Ab$iminished, which isthe scole usedfor G7(bg), So you cqn usethe some diminished scolefor the ll ond V in minor. porticulorlick uses This on interesting crisscross fingerboordshope throughthe firsttwo bors.Thediminished shope issevennoteslong ond repeotsdown b5intervols, A few liberties were token to keep the shopes eosierto ploy.This resulted in o few notesnot in the Abdiminished scole (Eb ond A in the second bor),They don't seemto conflictwith the diminished soundond come off soundinglikepossing tones,
Dm7(b5) G7(be)

Unit8: Six-Note Diminished Shopes

on"o six-noteshopes.|t,sogreotwoytoinventol|kinds of unusuql diminished ideosond isverysimple,Living ritnin the bosic diminished scole pottern (Exomple 3o) ore three six-note shopes,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

Wg:BbDiminish

- v ^

^
v

^ v v v

ihape 3

x.
!t

^
v

hme 2
v

v v

X I $tra

once you leornond understond the 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 just repeot the melody in eoch of the thrJe shopes. four,Then, r \ Hereore o few diminished shope melodies l've found to be uery usetut.
Exomple 24A Exomple 24B

@ Examples 24A-24F: Diminishedshape Melodies

Exomple 24D

Exomple 24E

Exomple 24F

28

Unit9: Mqior Triqdsin the Diminished Scole

A surprising numberof chordscon be extroctedfrom the diminished scole,includingminor,m7, dim7, dom7, ond severol oltereddominonts: domT(bs), domT(f9), ond doml3(bg)to nome o few, Developing linesby combiningorpeggios from thesechordsofferso lifetimeof explorotion in diminished sounds, However. onotherchord, olsofound in the scole,stondsout for itssimpleond pure sound-the mojortriod, Byopplyingthe diminished principle, we discovernot one but four mojortriodslivingin everydiminished scole'Theyore equollyspoced minor3rdsoport, ond when combined,somevery cool sounds emerge,

@ Exampte25:
Creotinglines with mojortriodswithinthe diminished scoleiso fqvoritetechniqueof conternporory )azptoyeii.

Mqior Triod Posifionsfor Bb Diminished (A Dominont Diminished Scole Over A7

Thebestwoy to unlockthe power of the mojortriodsin diminished isto leorntheirorpeggioshopesin speci1c positions. And sincemostopplicotions of diminished linesore over domT chords,the pbsitions shouldbe 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 diminished scole, Shift oll four triodsup o minor3rd ond somethinginteresting justin o different occurs.Theyoll reoppeor, order'TheA triod becomesC, C becomesEb, Ebbecomes Ff,ond F*is now A. This process continues up onotherminor3rd ond so on, Withthe triodsunderyourfingers, experiment combiningshortphroses from 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 exomplelinesdemonstroting thisconcept. They'reoll nototed in the some key becouseof the eose in which diminished linescon be moved in minor3rds,In foct, ony diminished ideo ployed on three consecutive fretscoversqll l2 keys, This meonso diminished linefor 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

Eb mojor

Ff mojor

A mojor

C mojor

Eb mojor

Filmojor

Thefirstexompleisbuiltoff the triodsmoving up minor3rdsstorting with A mojor,Becouse there ore mony possible woysto ploy lineslikethis,it'schollenging for guitor ployers to find the bestfingeringpottern,The ploy everytriod in thislineusingthe some exompleshows one thot worksfor me, I might of timeS, however, three-noteshope on two strings, Forexomple,tl'eiflrst A 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 quite o bit of on the 4th string, 2nd ond Sthfrets, This requires shifting but often worksout better in mony situotions, importontto rememberobout symmetricql Something linesisthot you ore more likely to ploy shorter segmentsin reol-world soloing, Mony of the ideos(especiolly the 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 improvised solo.

@ Example27
This voriqtionof Exomple 26 reononges the triodsinto o four-notepickingsequence,lt beginswith the 5th of eoch triod followedby the root,3rd.ond Sthogoin,

@ Exampte 28
Somerhythmicvoriotionisqdded to the next triod lineto demonstrqte one of thousonds of possibilities, Rhythmicol phrosing, when introducedto symmetricol scole melodies ond sequences, con reollybreoth life into theirsometimes predictobleond mechonicolsound, Thelinestorts with on A-mojortriod ond then jumpsup to the F$, Thesome phroseis repeoted with the next two triods.Eb ond C, TheA-to-Eb triod phroseisthen ployed ogoin, on octove higher, before o btuesyending.

@ Exampte29
Exomple 29 lookslikeo workoutof first, but once you understond the formulo,it's o bit eosier, Agoin, A, C, Eb, ond Ff triqdsore usedfor thisA dominontdiminished lin0.Thelineiso 9-notesequencethot isrepeoted up minor3rd intervols. But,unlikethe previous exqmpl6s, the trigds.ore ployed in differentinversions, Following on A-mojortriod in root position, on Filtriod isployed storting on its3rd,then Sth,ond root.TheEb triod beginson the Sthto the root ond 3rd leodinginto o C-mojortrioOin root position. This comptetesthe bosicsequence Now the entirelineisrepeotedo minor3rd higherond so on, Fingerings con be chollenging, but I think you'llfind it'sworth the efforfto work them out, This sequenceofferssomevery cool melodic possibilities.
A7

with on A-mojortriod,the linemovesto on Descending 30 opproochesthe triodso bit differenfly, Exomple when the lineoscendsin the second bor,the sequenceis inverted' ond c triods, Filtriod,followedby Eb lt olsomokeso in severolploces,Alsotry it os 8th-or l6th-notetriplets' or hommer-ons slides This line invites lost E note os o pickup to stort out if good technique exercisewhen repeoted severoltimes,Add the very you like.

30 @l Exampte

scolethrough the diminished hoveexplored greots Johncottron"ond chick coreo,omongothers, Jozz orpeggios 7th minor using sequence eight-note demonslrotes.o;torlort Thenextexomple triodshopes. q con osg 5e thoughtofcs fournotesof minorpentotonic Theminor7thorpeggibd mixedwithmojortriods, lineis This 5-b7-root-b3') ore fromi-minorpentotonic, c, ono Eb G, Bb, exomple: withthe b3on top, (For horizontolfoshion' to ployin o descending it iseosier position becouse fingerboord locotedin o higher

@ Example3l

(F noturo exomple,the next lick useso bit of rhythmond o posing note the concepr frornthe previous Using less Theeight-notesequenceisolsobrokenup to moke it sound in the firstbor) to odd more musicolity, oredictoble.

@ Exampte32

@ Exampte 33
Minor7th orpeggios con olsobe thoughtof os mojortriodswith on odded 6th tone. And in every diminished scolethere ore olsofour minorzth orpeggios, spoced minor3rdsoport. Here' osline usingthe four minor7th orpeggiosin the Bbdiminished scole(Am7, cm7, Ebm7, ond c$m7), This isonotherlinethot's o good technicolexercise when repeoted mony times,Usethe losthigh C#os o pickup to the beginning,

@ Exampte34
Thefinoltriodicdiminished linedemonstrotes combiningtriodswith on unequolomount of notes.This mokesthe linesoundmore interesting ond unpredictoble. lt's o l6-note sequencethot isrepeoted up flot Sth intervqls' Theentirethree-borlineiso tremendous fingering ond pickingexercise, 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, This Bb becomesthe Sthdegree of on Eb triod ond isfollowedby the root ond 3rd,Thencomes o four-note, rootposition C-mojortriod,Thesequenceiscompleted with o descendingA-mojortriod,The entireline isnow repeoted storting on Eb ond ogoin on A on octove higher.

Thebest-kept secretobout diminished lines, such os the exomples covered 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 diminished scole,differentnotesore occented, givingit o similor but differentfeel.This ii greot newswhen you're tryingto get the mostout of lines you leorn,So,if you get bored with one of your Jminishedlines, move it to onotherlocotionolong the minor3rd cycle, lt justmight soundbetter thon ever,

| 0: Usi UNIT

ScqleOver Siqlic Ghords he Diminished

ond instru.r970s emerged from the worrdof ioz., combiningthe sounds fusion , or jozz+ock, Bythe eorry gove stondords of jozz,Troditionoljozz sophisticotion mentotionof rock with the hormonyond improvising ond modoror stotichormonies' thot reriedmore on rhythm,grooves, woy to new formsof compositions conceptsin new ond unique quicklyodopted to the new musicby usingprou"n-irprovising Jozzproyers olteredscolessuchos diminished' troditionol new opprooch to rock mode it eosierto use"the woys.This wrong only o decode before' ond melodicminorin plocesconsidered whole-tone, obviousstortscole linesover stoticchords'A stoticdomT isthe ln thissectionwe.ll leornsome diminished ond domT(f9)' over m7, m7(b5), diminished demonstrote o few exompres ing proce;however; to o lorge fomilyof extended for exompre,berongs rt,simportontto rememberthot q stoticchord rikec7, ttn of C7' And for soloing' ond Bb/Core extendedversions Chordssuchqs C9, Cl l' Cl3' CTsus' dominonts. scole choicesfor oll of theseore the some'

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. soundtoo outsideond scolethe entiretime, your solowilllikely home scole,lf you justploy the diminished the c dominont otr inir qecilrn. lt combinesthe c bluesscoleond storts A stoticc7 bluesricr< nonsensicol, scole. 3 L diminished

@ Example35

lickfor c7' To hove onotherbluesydiminished we,ll odd o few bendsto the next stoticexomple,creoting usingo c bluesor o c on insid6bluesor iozzphrose on effectiveimpoct, thislick shouldbe set up with scole' Mixolydion

@ Exsmple36

Min o r Thenexttwo diminished linesore over o stoticm7. Applyingthe diminished scolethiswoy isdefinitely o technique reservedfor iozzsituotions, Theexomplesolso demonstrotetwo differentopprooches to superimposing the diminished over m7 chords,

@ Exampte 37
This exompleshowso more troditionol opprooch. Joz.ployersfound thot they could creote tensionond resolution over o singlechord by occosionolly hintingof itsV, An exompleiswhen soloingover Cm7, ploy shortG7 phroses thot resolve bock to Cm7 even though the occomponistcontinues to ptoy Cm7,Wellploced G7 ideoscon odd significontly to o solo,These G7 ideoscon be impliedwith severolscoles, including diminished ond whole-tone, Exomple37 iso two-bor line with the firstline o jozz phrosefor Cm7, Thesecond bor twistsinto o few mojor triodsfrom the Abdiminished scole before resolving bock to cm7,
Cm7

(G70e)

@ Example 38
Creotingmore of o modern,outsidesound,the next lineover Cm7 useso Dbdiminished scole in the second ond third bors'In thisopprooch,the Cm7 istreoted similorly to o C7 by the useof the some diminished scole,(ForCm7 useC dominontdiminished or Dbdiminished,) Tokecore not to overemphosize the E notes (mojor3rd) over the Cm7,
Cm7

Minor 7(b5) Unusuol but still worth considering iso stoticm7(b5), Becquseof itsdiminished properlies. the m7(b5) iso noturollocotionfor the diminished scole.Think of it os the sqme os o dimTond locote the diminished scole rightoff of itsroot (Em7(b5), useE diminished scole),

@ txampte39
Thelickstorls with on Em7(b5) orpeggioond chongesto E diminished leodinginto the second bor,Theno bosicdiminished sequencedescendsbock down to the chord'sroot, This linecon qlsobe ployed over C7, Em7(b5) qnd C7 ore both in the key of F mojor,Em7(bS) con olsobe thought of os o substitute for C9,

:' DominqnfT(tg> Thedominont7($9) isone of the only oltereddominonts thot [ .ito usedin stoticsituqtions. FromHendrix's "Purple Hoze"to numerous bluesond funktunes,the domT(*9) lendsitself well to the diminished scole,The chord hos both o mojorond minor3rd (il9)thot isolsoreflectedin the scole.

@ Example 4O
This lick useso five-noteDbdiminished shope olternoting with o C-minorpentotonicscole,
c7($e)

TheWhole-Tone Scqle
UNIT I l: Fin

s of lhe Whole-Tone Scqle

!et's stortout by leorningo good fingering for the whole-tonescole,"Onlyone pottern?,, you moy osk, Justos with the diminished scole,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, This ison especiolly eosytoskfor tne wnlle-tone scqlesincepotternsrepeot 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_tone scoles,

@ Example 4t A: pATTERN #l
pottern givesyou o ronge of two ond one-thirdoctovesond uses This three-note-per-string moveson the 6th,4th, ond lst strings' These con be o bit of o stretchif you're not usedto them, especiolly toweron the fingerboord, Mostployers (including me) usetheir lst, 3rd,ond 4th fingers; however, some usetheir lst, 2nd,ond 4th. A good pickingpottern for thisscole isto useolternotiqgpricking storting with o downstroke on the firstlow A,
.., A Whole-Tone Scole

v
x

^ ^
tt v

tt

^ ^
v

,R, ^

Ex

thot, in mony version the bottomond top notesfromthe firstpottern,we hove o streomlined Byremoving ond the move(4thstring), Youend up withonlyone three-note-per-string moy be moreuseful, instonces,
lt'sstilltheA whole-tonescole,but it's proboblyeosierto thinkof it os the pottern loysnice in one position. B whole-tonescole,
Scole BWhole-Tone

#2: fhe "SPeed" Version 4tB: PATilEPN

Scqle How to Leqrn ond Prqctice the Whole-Tone

on A7 groove on the CD to ploy olong with, As I hove mentionedbefore,it isimportontto heor, Here,s As you proboblyfiguredout by now, the whole'tone how o scoleworksmusicolly. rightfrom the-beginning, ployed over o dominont 7th chord. Althoughitsmore common usoge is primorily likethe diminished, sCole, dominont7th,it isstillo greot ideo to proctice the scqleover o stoticdominont7th isover o functioning chord vomp. One greot thing obout the whole-toneisthot you con simplyslidethe pottern up or down two frets'The notes)will chonge, So,while scole will stillbe in the some key; only the ronge (lowestond highestpossible ond usethe on the neck.Justvisuolize the pottern over the A7 vomp, move it to other locotions leorning roots,locoted every other fret, on the low E stringos o guide'

rRncrc @ tz ppncnce

39

Addilionql Whole-Tone Pqfrerns

Hereore two more populorpotlernsfor the whole-tone scole- two-note-ond three-note-per-string versions,

@ Example4t c: Two-Note-Per$tring Pattern(c whote-Tonet

This exompleisunusuql in 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 fingers insteod,

v A

^ ^
v

5
v

^ 7

Example4l D: Three-Note-Per-Slring Paltern (G Whole-Tone)

When mostguitorployers studythe whole-tonescqle,they inevitobly spend time on the horizontol threepottern. note-per-string Good for long runsond chonging positions, the pottern istwo whole stepsper stringmovingup b5intervols, Mostployers usetheir lst, 3rd, ond 4th fingers, but ogoin, lst, 2nd, ond 4th you, might be better for To keep your ploce when crossing the 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.

^ ,q ^
v v

v ^

q
v

^
v

e v

^ v ^
v

Ex

4l E: Five-Nole

There's one more pottern I wont to showyou, similor to the six-note shopeswe ployed

Whole-fone Pollern

melodies within the shopes ond oroi'"li"i;:y,i;o or downto the nextstring set,Thepotternisverysimilor to the first shown (Exomple eorlier 4lo) withthe exception of threenotes rother thontwo ployedon the 2ndstring, only two notes oreployedon the 1st strirg.

l?i3.iii:::,yi:,:_t":: on the threestring sets: 6-5, 4-3,ond.2-1, Wecon invent

v;lsion r:ltl?.:o.e concept, tt's o rive-nore whote-rone shope rhor isptoyed

with the diminished

e
v

v ^
v

^ v v

!t

^
v

x ^

q
v

Scqle Sequences Whole-Tone 12= UNIT

@ Exomple42
the comscole ond uses firstone isfor the A whole-tone This whole-tonesequences, Hereore o few useful etc., sequence.Procticeit slowlyond in time (with o metronomeor click) of first,Lookfor mon I 234-2g45, Moke up o short thosesections, then isoloteond emphosize difficultoreoseitherin pickingor fingering; timesuntilyou get it down. with thissection(moybe 8 to l6 noteslong) ond repeot it severol exercise

@ Example43A
Thenextsequenceisbuiltwith mojor3rd intervols moving in o porollelfoshionup the A whole-tonescole. In reol-world you would proboblynever ploy o long sequencelikethisexomple,lt's preferoble improvising, to useshorter segments connected to onothermelodic ideo. Butleornond proctice it in itsentireform to help buildup yourtechnique,

Example 438
Here's the some3rdssequence descending.

@ example44
How obout one of thoseclossic soxophone whole-toneriffs. Think of thissequenceos o four-notemelody repeotingdown in descending3rds,

@ Exomple 45
*ere ison unusuol seven-note sequenceolong the lines of John Mcloughlinond Al DiMeolo, Odd-numbered sequences con soundvery cool becouseit's hord for the listener to detect obviousnote groups,

@ Exompte 45
I usethisnextsequencewith everyscole I know,lt's o littlechollenging to ploy but well worlh the effort leorningit. lt's o six-note melodythqt isrepeoted down b5intervols, l've includedthe fingerings on thisone to help you work it out, Sequences likethisone with five-or six-note phroses soundmore interesting becouseit's difficultfor the listener to 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,

@ Example 47
Bosedon the previous exomple,thisiso ten-notemelody repeoted q 9th intervolbelow,Youcon see thqt it'sthe some firstsixnotes(storting on B thistime) with four descendingscoletones,lt mokeson interesting linefor 87.Every whole-tonemelodycon become o sequencewhen repeoted in onotherlocotionin the scole.

Arpeggios UNITI3: Whole-Tone

the whole-tonesoundisthe ougmented orpeggio' lt's olso orpeggiothot best reflects Theone troditionol the in thot it isbuiltwith mojor3rdsone on top of onother,When compored to the whole-tone, symmetricol pottern the ougmented good for fingering everyother note, Belowiso ougmented orpeggiosounds port might be borringwith ihe 2nd fingeron the 2nd ond 3rd strings. orpeggio,Themostchollenging since try to do it borringthe two strings to ploy thesetrio noteswith seporotefingers, Althoughit's possible in the future, useful thistechniquewillbe extremely 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" the notesto get it cleon before you ventureinto the lond of smoothorpeggio.Alternote-pick with thisorpeggio.

1.,-

'4
o r

I
1

v
^
v

^ ^

5
^
tt

Example 488:

WholeSlep

everyother note in the whole-tonescole.To ploy the As we justleorned,the ougmentedorpeggio outlines meonsthot two ougmented slidethe orpeggio up or down o whole step,This noteslefi out in the scole,simply hove picked up on thisfor o whole step oport, form the notesof the whole-tonescole,Ployers orpeggios, Thefollowirp sounds. ougmented/whole-tone yeors,combiningthe two orpeggiosto creote mony interesting (or for the top Bboug) to Doug line iso two-octove orpeggiothot isCoug for the firstfour notes,switching thot, likethe whole-tonescole,ony note in on ougmentedorpeggiocon four.lt's importontto remember the root, be considered

^ ^

^
v

5
^
v

v
A

Example48C: C Whole-Tone
with the scole. Here's the two ougmentedorpeggios whot I collthe Whole-Tone Arpeggioby combining Cnec kit o u t ,

^ v ^

v
^
v

5
^
v

^ -

/^\ v

Example48D: Bb(bi) AugmentedArpeggio

lt might look fomiliorbecousewe olreodyleornedit os o diminThis next orpeggiois builtwith b5intervols, ishedorpeggio,Coincidently, it'solsoon ougmented orpeggiowith everyother note omitted,With only per string, it'so bit tough to ploy,Thesecretisto fingerit l-2-3-l-3-4, one note
'
r

v
A\

^
A
v

Example48E: l-3-b5C AugmenledArpeggio

usingthe root,3rd,ond b5,it'sfingered Hereisonotherwhole-toneorpeggio usingthree notesper octove, Built to it in verticol four-fret in on unusuol foshion keep o oreo.

5
^
v

^
v

UNIT14=Usin the Whole-Tone Scqle

Applicotions of the whole-tonescolesore similor to thoseof the diminished scole,Typicolly treoted os on olteredscole,the whole-tonespeoks o very specificsound,Somesoy it sounds unsetling,odd, or even spookywhileothersthinkit hos o modern outsidesound,Mostogree it does not soundvery reloxed or homey ond shouldbe reserved for very specificsituotions. And thosesituotions ore over dominont7th chords.

To reollyunderstond the whole-tone's potentiol,you need to understond itsmokeup ond how it compores to o dominont7th,We discussed eorlier functioning ond stoticdominontsond showedo comporison of tfx whole-toneto o dominqnt7th chord (Unit2), Youcon see thot the scole creotesthe root,2nd, 3rd, bsth, $Sth, ond bTth of o dominontchord. Mostmusiciqns know thot becouseof the olteredSths, thisleonsthe sound,creoted by thisscole,in on ougmented direction. This doesn'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-Tone in 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 resolves to the lchord. Cmoj7,you olsoneed to resolve to 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, visuolizg oll the whole steps(storting ot the 1stfret) olong the low E string, Eoch one of thesenotesiso root.chOitorting ploce for the pottern,

Afteryou hove spentsometime procticingwith the ii-V-l proctice trock,stortmemorizing ond odding the followingexomples, Mostore rhythmicolly simpleond eosyto leorn,Whenyou get one down, ploy it olong with the trock untilyou're comfortoblewith the chonges, Following the Dm7 line,which includes o few chromoticpossing notes,iso stroight oscendingG (or B) whole-tonescole over the G7 thot resolves with o C-mojorscole polern over Cmoj7,
Dm7 G7

50:ihv4 Lines with the whote-Tone scale 9 Exampte

CmojT

@ exampte 5l
Thenextexompledoublesup with l6th notesfor onotherii-V-l in 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 serves os o leodingtone to the Sth of CmojT(G) in the lostbor,
Dm7

@ Exompte 52
This ii-V-l linein Bbbeginswith o Pot Mortino-inspired Cm7 lineond then movesinto o descendingwholeto the root of BbmojT. lt hosseverol tone/ougmentedlineoverthe F7thot resolves consecutive string-ougmented which con be chollenging to pick, ond mojor 7th orpeggios,
Cm7

/t8

@ Exomple 53
This finolexompledemonstrotes notesbetween scoletonesto give o bebop flovor usingchromoticpossing Thepossing notesin to the line,I olsoincludedo few rhythms to breok up the lineto moke it more musicol. notesbetween the whole-tone(D7)ore ploced ofter the C, Gf, E,ond lowerC, lf you tried to odd possing everyscoletone, you might losethe whole-tonesound,ending up with nothingmore thon o chromoticscole.
Am7

Usingfhe Whole-Tone Over the ll7 Anotherpopulorlocotionfor usingthe whole-toneisover the ll7,Thell7 iso very common chord usedin hundreds of ioz., bossonovo, ond pop tunes,Tunes suchos "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 resolve in the some woy os o V chord but isstillo 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-five substitute (Db705) for G7) in bor 8. Alsoshownore s0ggested scoles. 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

\=l

v
C mojor

D Dorion (C moj)

G Mixolydion (C moj) G whole-tone

Dbwhole-tone

Solo*l @ Exampte55:II7 Progression

while plocing Agoin,juststortwith eosy rhythms over the ll7 progression. Now for o few exomples of solos licksnot intervollic o few ideos ond melodic fovorite more emphosis on the melody.l've includedsome only for the whole-tonebut olsoover the mojTond m7 scoles. joz motifs. clossic 8th notesond hosseverol Thefirstone wos writienusingeosy-going

CmojT

@ Exomple 56:II7 Progression Solo*2

Nextiso more oggressive ond chollengingl6th-notesoloover the some progression, the demonstroting useof the some sequencewith differentscoles, Theopening CmojTriffisbosed on o six-note sequence olong with o few vqriotions, Thesequenceisrepeoted in bor 3 (beot 2) with the D whole-tone, Bors 5 through7 feotureo ii-V-l linein C thot includes interesting on whole-tonelineover the G7, lt's o G wholetone ployed with olternoting 4th intervols obove eoch scoletone. Thelineretoins o whole-toneflovoreven though the upper intervqls ore out of the scole,In foct, these upper intervols form the other (Gfi)whole-tone scole,lt could even be lobeledo chromoticscolesinceoll l2 tonesos sounded.Thesolofinishes with o whole-toneline,which ismode up of ougmentedtriodsmovingup b5intervols.
CmojT

Dm7

UNIT | 5: ModernUsesof the Whole-Tone-Slqlic Chords

Let'sexplorethe useof whole-tonein o few contempororysituqtions, When usedin o modernjoz. ond fusionstyle, the whole-toneissometimes ployed over stoticchords,Stoticdominontprogressions stond out os o poputorcontext for opplyingthe scole. whole-tonesounds con be slightly hinted of or highlyemphosized in 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 folsely signolo resolution to onotherchord (A7 resolving to D, for exomple),

@ Exampte 57
Thefirstexompleiso nice littleswing/beboplinefor o stqtic Bb7.lt demonstrotes hin1ngot the whole-tone for effect (secondbor)'The linethen flowsbock into o simpleBb7 soundingideo in the third bor to finish the lick.

@ exampte58
Thenext exompleiso bosicwhole-tonesequence,but sincethe notureof it emphosizes the 3rd ond b7th. it workswell over o stoticA7.

@ Exampte 59
Here'so hip litflelinegood for eithero stoticor functioning AZ, lt combinesthe whole-tonewith o few ougmented shopes.

@ Exampte 60
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

tboqtd

- symmetricql plovoro scqlesGeomefric

Theguitorfingerboordiso mogic ploce when it comes to symmetricolscoles, Becouse the fingerboordis loid out in itsown symmetricolform, it'so noturolbreedingploce for on unlimited omount of ideoswith thr diminished ond whole-tonescoles' shortmelodies con be inventedond moved ond repeoted in ony num ber of intervollic directions, forminglong interesting lines, Visuol shopescon olsobe explored. As for os the whole-tonescole goes,it's importontto visuolize ond leornthe vorious intervols thot ore pres ent withinthe scole'Whole-steps, mojor3rds, flot Sths, ougmented Sths, ond m7thscomprise the wholetone scole' Belowiso fingerboorQ grophic showingthe intervols builtfrom the root in o whote-tone scole beginning on A.

@ Exampte 6tA

whot's interesting isthe foct thqt no motter whot note in the scoleyou storton, you con stillploy ony of the intervols up or down from thot note ond stillremoinin the whole-tonescole.(Don't forget thot guitoris need to moke the properodjustments to the intervols when 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 leornthisexercise with the woke-upexercise,

in exompre ooou.lbutorso onrhe3rd, 4rh, ondSrh strins i::::T"1'::tj::::Y:i]Pjll ill!9: ls It con olsobe ployed on only two strings for o ffre finger-stretching

isthot you con stockthem. Forexomple,if intervols Anothercool coincidenceregordingthe whole-tone's stoywithin one on top of the other,the noteswould still you ployed o stockof severol mojor3rd intervols, b5intervols lf we stocked would octuollybe the ougmented orpeggiowe leornedeorlier,) the scole.(l-his oll noteswillstillbe in the scole.Whot would hoppen if we would get the some result: or ougmentedSths, We'd end up with the whole-tonescole,of course! we stockedseverolmojor2nd intervols? ond ore of meosurements version to remember-they ore music's One very importontthing obout intervols Theshopesstoyexoctlythe some,An ougmentedSthobove C, for the some descendingos oscending, exomple,isGil,but on ougmentedSth below C isE.Or o mojor3rd obove A isC* whileo mojor3rd below which isthe obsolutemidpointof qn octove, producesthe some note either A isF,Onlythe b5intervol, the workobove or below o given tone. A bsthobove ond below D ore both Ab,Be sureyou understond ingsof intervols ond how they loy on the fingerboord. of the fingerBecouse with the whole-tonescole?SHAPESI \!hot does oll of thishove to do with improvising instrumentolist no thot other with this scole geometry,guitorployers con inventmelody lines bcord'svisuol v,ould ever thinkof,

Fingerboard Example6l C: Whole-Tone

showingthe whole-tone grophic below, lt'sthe entirefingerboord fingerboord Lookqt the weird-looking Justlook of the numberof geometricshopesyou con spot rightowoy, sccle on everyfret,everystring, ideos, Lockof it in termsof chordsos well os single-note

thiswoy, They'vefound hove come up with uniqueideoslookingof the fingerboord A tot of good ployers Justtoke o ideos.Tryit yourself, ond o weolth of single-note orpeggios, chord voicings, hormonized unusuol Thenploy them. pencilond circlesomeshopesor potterns, I thiswhole-tonefingerboordisthe mony X shopes. One potternthot jumped out ot me when studying linesby ployingthe X'sond movingthem oroundthe fingerboord. workedout severol

56

Thenext "

62A: Three$triWpne P Exampte

X Shape
_string X shope,

Or how obout o four-string u"

ne X Shope

@ Exampte 63

once reoch lmfil:?nj,ffJ:H::#Tl:%ffi,m:ri#;;rx'o""'J',."Jojor3rds rhe vou rop

Nextoresomeof my fovorite lines using these X shopes, Using the somesix-note X shopeos Exompl e 62A,

riis one ison eight-noteX shope thot isolsorepeoted up mojor3rds.lt requires o trickypickingpottern, 3eginwith on upstroke on the firstnote ond olternote-pick the followingsevennotes.This completesone s^ope' Beforemovingon, proctice thisfirsteight-notepottern severol timesto get the pickingdown,

@ Exompte64

@ Cxompte 05
--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's o quick story:I showedo similor whole-tonegrophic fingerboord to o studentof GITone doy when we were workingon whole-toneideos, Thestudent-took one l6ok of tfre neck ond soid, ..cooll,,ond immediotelyployed the next exomplewithout missing o note, Hejustwotched the neck diogrom wos omozed. ond ployed. I

rhis|inei''i erboord.StortwiththeFtoGonthe 5th string' the Eb tof on the 4th string, ond then the F to oon the lst itring.Then move up o fret qnd do :ne some with the 5th' 3rd,ond 2nd strings, Now move up onotherfret ond ploy the some l2-note sequenceogoin' lt's o greot string-skipping exercise, You con either leorn it 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 discovered geometricolly, nope ii wiilinspire but I you to come up with your own inventions,

Exampre66: Geometric F whore-fone$uper-Lick

qnd whole-Tone uNlr 17= Diminished Lines

''e includedthislostsectionto showyou o few more of my fovoritediminished qnd whole-tonelicksond " cks'Mostcon be usedin ony situotion thot collsfor o porticulor scole,from stoticchordsto ll-V-lprogresions, Scmeore writtenwithoutchord symbols becousethey con be ployed over mony differentchords,

@ Example 67

We'llkickthingsoff with o good C7 lineusingthe diminished scole.Beginnlng wlth o bebop phrose,it winds throughthe C dominontdiminished scole before finishing up with o bluesriff.
. ?

@ Example68A:Ascending A WhobfLne pdtern Reversed

Thenexttwo whole-tonelicks soundsurprisingly cool for how simirle they ore. I leornedthem from o student who wos tryingto work out the whole-tonepottern but didn't understond the fingerboorddiogrom I showedhim' Going up the scole,he ployed the pottern reversed storting with the highestnote on every string, lt soundedgreot! Thefollowinglinesore simply the firstwhole-tonepottern (Exomple 4lo) with the noteson eoch stringployed in reverse order,Check'em outl

Example 688: DescendingA whore-Tonepoltern Reversed

60

@ Example 69
Nextiso good string-skipping whole-toneline usingougmented sth intervols movingup bSths, But,surprisingly,thislineisolsoin the diminished scoletoo, Ployit over A7, thinking of it os q whole-tone,Ployit over 87,thinkingof it os diminished, Youcon olsoturn thislick into o trickychops-building exercise by repeoting it severoltimes,(Youget extrq credit for moving it up or down two fretsevery time for the whole-tone ond three fretsfor the diminished.)

@ nxampte 7O
As with ony scole,it's o common techniqueto odd possing or neighbortonesbetween scoletones. Possing tonescon smoothout ond extend wholeitoneideos,Thesecretisto odd only o few to retointhe soundof the scole,lf you odd too mony,things-might stod te soundoverlychromotic,Thenext line iso possing greot over G7, but olsotry shortexompleof odding o few notesto o whole-tor1e melody,lt sounds it over Eb7, 87,ond, whot the heck, over oll sixdominontsin thiswhole-tonekey!
G705)

up lineslike scolephrose,Breoking odded to o diminished rhythmicsyncopotion iromple 7l demonstrotes qnd sequence -.rs one, especiolly ottitude,Leornthe bosic con odd o lot of musicolenergy sequences, bock down to Ebbefore reversing high to frrst, which stortson the second note of the firstbor. lt oscends them, you'llbe oble to odd the some synOnce you understond rne finol bor,Thenfigureout the rhythms, copotion whereveryou wont in the sequence

7l @ Exampte

lt'sjustthe notesof the scole ployed whole-tonelines. I hod to throw in one of my secretoctove-disploced once we hii the high D, we go on C) but with certoinnotesployed on octove higher, up in order(storfing qbout pickingthisline.lt con be olternote-picked, bock down the some woy, Thereore o few woysto go on the C ond on the low C, Anotheropprooch isto begin with two downstrokes but stortwith on upstroke the high G$' on upstroke one ond then on the F$, on the high E,then one downstroke D, then one upstroke Thenrepeot:down, down, up, down, up, etc'

72 @ Exampte

Thenext exompledemonstrotes how you con usethe previous linein o ii-v-lprogression. Following the Dm7 melody in the firstbor,the octove-disploced whoie-tonebeginson the low G, This time, 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 resolves on the 3rd of Cmoj7,
Dm7
^1 vl

CmojT

@ Exampte74
Applyingthe some five-noteoctove-disploced sequenceto the diminished scole,the next line isfor o ii_V_l in Bb'After the cm7 bor,which iso nice jozzdescendingphrose, the octove-disploced Gbdiminished beginswith the losttwo notesof the.firslbor (c to,D). con olsothink of it os five-noteshopesployed *You 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

@ Exompte 73

Finolly, here'so couple of whot you might coll speed licksfor both the whole-toneond diminished scoles, Thefirststorts os on oscendingwhole-toneorpeggiosequence,Butwhen it reqchesthe 2nd string, we toke o rightturn ond heqd up the neck,toking odvontoge of the mojor-3rd tuningbetween the G onO g strings. Youcon continueup the two strings os 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-speed versiontokesodvontoge of the mojor-6thtuning between the 4th ond 2nd strings ond between the 3rd ond lst. Theline requires o lot of string-skipping but mqkeso burningoscending(or descending) diminished lick.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 diminished ond whole-tone scoles, some ideosthot con benefityour ploying, I hope you.ve found Don't feel thot you mustconquer everything good ployer'choose o limitednumber in thisbook to be o of potterns, lines, ond conceptsond work hord on them, mosl importont'get them into your ploying Then, os soonos possibre, Not mony proyers (incruding on o doily bosis me) con use every ideo in o ooot< such os thisone, However, do noi negrectreorning thesescoles'os well os other scoles the 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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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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