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

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

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

SCATE ll: SECTION THEDIMINISHED """""'7 Scqle' of Fingerings fhe Diminished 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""""""' 4E x o m p l e s . l 3 . , ' . , ,. . , -r"r D i m i n i s h eA p e g g i o s , . , ' . , ' , , , , ' , . - . , , , , , , " " " " ; " " ' r" " " " " " " " ' 1 9 d U n i t6 : ""' ro """)""""" 4 E x o m p l els A - l 4 E . , ' . """"""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: SECTION THEWHOTE-TONE """""'37 Scole of U n i tI l : Fingerings the Whole-Tone 4 exJmptes 1F.-41E,,,,.,.,..,, """"""""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 the end os 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 students of struggle with the some problems thot I foced when gling throughthe process leorninghow to ploy ond usescoles, of After mony yeorsof experience, both pldyingond teoching,l've become o big believerin cutting through the nonsense getting to the point of it oll,which isployingmusic, ond 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 blues,rock,fusion, like 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 improvise to 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 the mojorscole ond be oble to ploy them in dtt t<eys, of 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 the correctscoleor key center for the given chord, to 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 improvising, we now stortreollyleorningmugc. Sofor we,ve been using of os scolesond orpeggiosbut moy not been oble to moke our solos soundmelodic,Now it'stime to leorn melodies. Mostof us need to leorno repertoire melodic lines usewhen we improvise. of to Almostevery one of our fovorite ployershos,of one time or onother,leqrned linesby copying recordings tronscriptions. or 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 the phrose"ployingwhot you heor.,, is Mony ployers they do this,leodingstudents thinkthot they simplymoke up musicon the spot,Whot soy to they ore reollysoyingisthot they ore ployingwhot they know, lmprovising the spontoneous is 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,

KUV. ln Symmetricol Sco/es you'll leornthe most useful Reveqled scole potternsond exploresequences ond orpeggioswithinthe scoles'Nextwe'll leornthe secrets how to best usethe scoles. of followedby severol of my fovoritemelodiclines. You Think scolesos hovingno beginningond no end. o scole builten1rely it's of whole tones.fingerings eoch scole. Eventuolly.You'llfind thot eoch hos q differentstorting ond ending note becouseof the noturolronge of the strings. One more thing obout the fingerings: ore limitedonly by the lowestond highestnoteson the guitor.Modernployers exploitthesescoles to odd on outsidesoundto contemporory jou.ond you shouldleornto controlthe scole by being oble to stortqnd ore end on ony note. Scoles simplyo row of notes.ond even blues.the whole-tonescqleisexoctlywhot the nqme indicotes. up Guitorployers con eosity discoverhundreds unique of melodicond hormonicideosthot ore not os obviouson other instruments keyboords. ol they provideo controsting flovorogoinstfunctionoldominontchords.you con get by with justone to In fingering eoch of thesescqlesond then repeot the some fingering for everytwo frets(whole-tone) three or frets(diminished) or down the fingerboord. simplicity Their con be deceptive. it'sokoy to stortwith ony sectionin the book thot interests but you. four timesper octove. For exomple. Bothof thesescolesore very useful ond creotivetoolsused by improvisers. one greot thing obout symmetricol scolesisthqt they ore very guitor-friendly eosyto memorize.you shouldreod every poge corefully. We'llbegin eoch of the two sections firstleorningsome good. . grophic instrument similor o slide-rule. I . like reeds.or bross. ond The fingerboordiso visuol. Thesymmetry o diminished of scole iso pottern of olternoting whole stepsond holf steps.Introduction This book deolswith the two mostusedsymmetricol scoles-the diminished ond whole-tone. Don't be too concernedwith the bottom of or top notes of eoch individuol pottern.lf you by for olreody know o fingering two. it'solmostsurprising thesesimplescqlescon providesucho complexsound. how In trqdition jou. . stickwith them or feel free to modifyony oi the iingerings or here to suityour techniqueond style'Theultimotegool isto be oble to ploy the porticulor scoleonywhereon the guitorin ony t.^. rock. individuol scolefingerings begin to blend togetherintJlorger potternsuntil will 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. Symmetricol scolesore bestdefined os hovingrepetitive equol-notespocingthot repeotsthroughout or the octove. Get o feet obout where ond whot the vorious topicsore ond if they contoin informotion you olreodyknow.. mostcoses.

Thinking termsof two modes mokeslocotingor superimposing in the scoleover specificchordseosier. Example lC: C Whole-Tone Scale Mode When it comes to the whole-tonescole. I step I sfep I sfep I sfep I step . Bothmodesore still diminished scoles ond ore ployed exoctlythe some.hove modes contoinedwithinthem. @l ExomptelA: C Diminished 6cate(tst Modet I step I/2 step I step I/2 step I step I/2 step I step I/2 step sfep |/2 Theothermode found in the diminished scolebeginswith o holfstep.Onlythe storting notesore different.the resulting scolewillolwoysbe the some. improvising.. Thefirstmode of the diminished scolebegins. In you willnot only ploy the diminished scoleover diminished chords.juststortwith eitherthe whole-step holf-step modeswith one fingering or scqle.A good nome for thisone isthe domrnont diminishedscole. Youcon ploy both diminished pottern. All includingmelodicond hormonicminorond even the pentotonic. Example I B: D Dominonl Diminished Sca. 9 Unit l: Modes of the Diminishedqnd Whole-Tone Scqles Using term mode when discussing the symmetricol scolesmqy seemstronge.but modesoren't justfound in mojorscqles.le (2nd Mode) / ! I/2 step I step I/2 step I sfep I/2step lstep l/2step lsfep l/2sfep tstep l/2step tstep Don't let thismode business the diminished with scole confuseyou.there isonly one possible mode. lnsteodof givingit someweird Greeknome.Youdon't wont to confuseyour fingers into thinking there ore two differentpotterns. scoles. Thereosonwe ore even considering both modes isto moke the scole'sopplicotioneosier. when oscending. diminished two modeswhilethe whole-tone the hos hosjustone. Of our two symmetricol scoles. with q whole step from the firstnote or root. we'lljustcoll the firstmode Ihe diminished scole. No motterwhich note you stort on in o whole-tonescole.but more often thon not you will olso ploy it over dominont7th chords.

oltered becouse the olterotions dominontchords. Example2A scole contoinsevery oltered tone but the $5(or bl3).in the progression-stotic ond functioning dominont7ih chords.). Diminished scolestortingwith o holf step. etc.Cl 1. The often odd too much dissononce. ore usuolly Theycon be extended(C7. Cl3(b9). Toget o feel of thesefunctioning to FmojT E7to Am7 ond listen the dissononce the dominont7th chord being resolved. C9. to colled dissononce. etc.Cl3. ment to onother chord. only exceptionsore the il9ond the b5. only olterotion sth bTrh 3rd Dominonf 7fh Chord: root b7th root 2nd 3rd b5 Whole-ToneScqle: ils . or function. dominontchordsfunctionos tronsition by is Thenoturolresponse thistension.Stoticdominonts Sfotic(stotionory) dominontsore not os dissonont vomps. Example 28 sco/e. Most the ploy dominonts. to of C7 or ond ore not usedto leod to other chords. where the tune moy stoy on the chord for o long period of time.DominqnlTths Unit2: Stqlic qnd Functioning Thereore two primorytypes of dominont chordsthot ore mostlydefined by their context. . Troditionolly. olteredsounds usedover functioning scolesore troditionolly considered Symmetricol ' providing theirown uniquekindof tension.) dominonts. chordsthot leod to other chordsby creotingtension. All dominontchordscon be usedos functioning (C7CI5).or extendedgrooves. Stoticdominont chords con olwoysbe extended but not usuolly ond oltered C9(b5).The b5isthe from the dominont diminished The whole-tone scolecontoinsthe f5 thot wos missing thot's common to both scoles. Notice how the dominont diminished b7t root 3rd sth Dominqnl 7th Chord: sth 6th bTth il9 3rd b5 Dominonl DiminishedScole*: root b9 . the desireto heor thot tensionresolved moveos the functioningdominonts. to of the time they willresolve o home chord up o 4th. . l'll referto these dominqnt chords This tensionlimits omount of time thesechordscon be ployed before movingto the next chord.

on ony string there'solwoyso whole step followed by o holf step or vice versosponning three frets.so verticolpottern usingthree notesper string thot coverso littlemore thon two octoves.modes. At thispoint' don't be concernedwith the storting note.For of now' justthinkof thisfirstpottern os c diminisneoitorring on low c ond ending on high D. we willget into the .. lt. @ Exampte3A: DiminishedScdte C Diminished Scole I .Scqle Probobly mostpopulorpotternfor o diminished the scole isshownbelow.. the scotetoter.

the low B ond the high Eb your 4th fingerto shiftfrom the try when oscending. your lst fingerto shiftbetween the lqsttwo notes(4-3-l-l)' use descending. Toodd of for Comporethe fingerings the oscendingond descendingversions the dominontdiminished. 3rd to 4th note (1-2-4-4).if you feel you con ploy it fingering do ploy the four noteswith four seporotefingers' is for ond oniveof the bestfingering you. go for it' And yes.which storts scole. v ^ v v v A ^ ^ rt ^ .someguitorists This ruleisnot set in stone.but more importont. using for string con presentsome chollenges guitorists.issometimes thispottern. odds o Thenext pottern isexocflythe some os the firstbut hostwo qdded notes:o low B ond o high is the root of o dominont7th chord' This why bit more ronge to the scole.it includes colled the dominontdiminished with o holf step rotherthon o whole step. four noteson one Ploying you hove to ploy four noteson the lst ond 6th strings.lt Eb. Shifting o very imporfontguitortechnique Do someexperimenting ond shopes' scolesbut olsofor other scoles not onlvfor diminished Exampte38: Dominan] DiminishedScale v ^ v v v x x ^ ^ v ^ - v ^ v v ^ v A.When ond momentum' will with the lostnote on the string hove more strength thot shifting Thelogic behindthisis qnotherwqy.

9 Example3C: Horizontal DominanlDiminished ScalePattern pottern Whilewe ore on the subjectof four-note-per-string fingerings. lf the diminished scole is new to you. this on Horizontol fingerings emphosize symmetry thesescoles. A v ^ v ^ v ^ v ^ v x ^ v ^ v v x x ^ v ^ - v - !t E o ^ .4. followinghorizontol the diminished uses fingering everystring. G Dominont Diminished Scole A v v ^ ^ v v . populor the This of pottern isuseful long melodiclinesond chonging positions. you might wont to skipthispotternfor now ond concentroteon the firsttwo fingerings.fingerit the some woy os the lostpottern: for I 1-2-4-4 when oscending ond 4-3-l-l when descending.

.Building techniqueis up you con do onywhere. ". lt's o greot woy to get to know is whot you con reollydo ond where your weok oreosore.suchos whilewotching TVor sittingin the pork.Thegool isto memorize scolesos o comthe plete group of notesin which you con stortond stop oqywhere. @ cz PRAcrrcE TpAcK Whileployingthe C dominontdiminished scole olong with the G7 groove proctice trock. Yourfirsttendency might be to storton the lowestnote ond ploy up or storton the highestond ploy down. Thot'sokoy of first. but for now proctice the scoleover o dominont 7th chord vomp. even o drum mochinecon simulote or performonce. how b scoleworksmusicolly. you shouldplon to breok owoy from thot hobit os soonos possible procticingthe but by scoles from differentstorting notesin the middle of the scole.Thediminished to scole isolmostolwoysployed over o functioning dominont 7th chord. Thebestwoy to leornony scolesor scole potternsisto relqtethem to o chord immediotely. Ploying olong with music-minus-one topes. shouldtry to hove some fun with thesescolesby odding rhythmic on you voriotions ond occents.Musicolly.rightfrom the beginning.' you Technicolly.Procticing ployingisusingthe thingsyou've worked out in o reol musicolployingsituotion. importont lt's to heor. shouldbe lookingfor difficultfingerings pickingobstocles or ond ploce some extro emphosis theseoreos.whileyou ploy things something over ond over. This the time to imogineyou're on stoge with no turningbock.Unit4: How lo Leqrnqnd Prqclicethe Diminished Scole Thereore bosicolly iwo importontthingsto proctice:techniqueond ploying.your friends. listen how it to sounds ond relotes the chord.

Sequences con olsobe o significont help in leorning scole potternsond con offer somevery chollenging pickingond fingering movements. . for Thediminished scoleoffersmore cool sounding sequences thon ony scole I con thinkof. ore lf you hove borringwith your 4th finger.Get them down os well os you con ond usethem. know thot if o sequenceis shownfor G7. scqlesequences con be powerfulmelodictoolsfor improv6ing usedproperly. linewillhelp you moster This the technique of fingering4thswith o bone or two notes ployed with one finger.Thefingerings nototed. etc. Coming up ore o few fovorites. fingerings the con be ployed. hove io odmit.lt's much better to hove o few the thot you con useinsteodof severol thot you're struggling with ond con't quite pioy. diminished ond whole-tonescolesore noturols opplyingsequences. Leornthe othersonly when you feel you con odd them to your ployingwithoutjeopordizing onesyou firstleorned. Due to theirsymmetricol potterns. Althoughthey borderon soundinglike ploin old exercises. with o combinotion of your 3rd ond 4th fingers. a E) Exomple4 Let'sbegin with o few closic diminished sequences. Mony of the sequences ond licksin the diminished scole include4th intervols. in mony instonces. for exomple.Butfor now. Loter. however. A lt's builtwiih the scoletonesin thisorder:2-l-4-3-6-5.Check them oll out on the CD before you leorn ony. then pick two or three thot you like best to stort.Unit5: Diminished ScqleSequences l'm not o big believerin exercises. However.would rothershowyou some ideosthot ore not only good for building I techniquebut ore olsomelodicond interesting enough to usewhen performing. I thot l'm cought in the middlewhen it comes to scolesequences. Gb7. if Sequences o process ployingthe notesof o scole in o mothemoticolorder. lineeverysoxployerknowsisthisone for G diminished.These four chordsore qll equolly spoced q minor3rd oport ond oll occept the somcidimlnished scole. willexplorehow to usethe diminished we scole in detoil.thot linewillolsofit over lb7.Typicolly ore of ployed os descendingor oscendinglines. Severolof the sequence exomplesore shownwith o suggestedchord thot the line fitsover.one importontthing obout diminished melodies thot they willolwoyswork over severol is other chordstoo.ond E7. sequences con be mode up of two or more notes. .

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

lt's ployed oroundthe 8th fret ond mokeso good linefor C7. A good descendingline.mokingthe firsttwo notesthe pickup ond then mokingthe firstthree notesthe pickup.disploce oll of the notesby shifting them to the left one l6th note eorlier.Forexomple.t N - L2)Example6 Thenextsequenceissimilor the firstone. Example6A Sequences such os thisone con be olteredrhythmicolly creOte\Cifferent to occents. mokingthe firstnote o pickup.Continueto repeot thisprocedure. this etc. .it contoinsseverol to fourthintervols ond follows note sequence:6-5-8-7-4-3-6-5.

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

o few differentwoys. AdimT . Tosovespoce.. R - &A Example 7 Thesequencein Exomple7 isqn oscending for the A diminished line scole. requires bit of o stretchwhen you reoch the 4th string.Workit out so ybu con continueup to 'lst the high F$ the on string. However.positionline wise. l've shownonlythe firsttwo borsof the sequence.Showniso pottern designedto keep the sequence in o relo1vever1col position. it o AdimT @ ExampteI Youmight find it eqsierto ploy the lostsequencein o horizontolfoshion usingthe four-note-per-string pottern.This con be ployed.

potternsshowneorlier. diminished scole. resulting perfect Sth.Ploceo 4th.Plocingo mojor3rd. .we con discover ore coincidenceoccurswhen certoin intervols ploced obove the four notesof o In foct. plocing voriousintervols By nume1col sounds. @ Examptel0 Although scole in termsof intervols.Theresult o G dominontdiminished ore the descendingport of thislineby olternoting order in which the intervols ployed. diminished ploced obove the four notesof o An exompleof thisconcept isthisusefulline builtfrom mojor3rd intervols l've odded q pickingtwistto the sequence.) obove scole ond orpeggio 4ths. willorriveof them considered ore still the followingexomples (3rds.Youmight find it eosierto pick by designedto followodjocent string the on storting with o downstroke the firstnote (C) ond then olternote-pick entireline. uniquediminished severol tones. on interesting eight notesodd up to oll the notesin o The 7th diminished orpeggio(see Unit5 on orpeggios).or minor7th intervolobove the hotesof o dimTth scole. or mojor7th ond you get the in orpeggio results o dominontdiminished scqle. etc. minor6th. is GdimTorpeggio.lt's o repeotingsix-note One of my fovoritediminished setswhilestoyingin the scole pottern.t6 @ Exompte 9 sequencethot is is sequences thisdescendingline. when we thinkof the diminished A weolth of ideosisot our fingertips in o differenlwoy from the we sequences.Sths.

is @ Example12 Combiningintervols con creote interesting sounds olso. All resulting notesodd up to on E. Bb. C$dominontdiminished or scole.Anotherwoy you con look of thislineisSth intervols moving up minor3rds.but olsoover G7.@ Examplet I Theintervol sequencein Exomple I I issimilor the lostbut usesSth intervols.I thinkof thissequenceos 4thsmovingup minor3rds. the result o greot linefor A7.This exomplecombinesolternoting 4thsond mojor 3rds. to Here. or .G. with olternoting 3rdsolsomoving up minor3rds. C*7.os shown.Sthsore stocked obove the four nofesof on AdimTorpeggio.Thelinecon be ptoyeOnot only over E7. Bb7.Either woy.

five-notemelody iso bit differentbut stilluses movingup bsthintervols. followedby o singlenote. However.This Up next iso cholenging voriotionof the previous ployed o minor3rd oporf followedby o mojor3rd intervol two lt note phroses. creoteso five-notemelodythot two 4th intervols the Descending. times is repeoted severol This firstnote of onothergroup of 4th intervots. oeglns-with 4th intervols the iop holf of the mojor 3rd intervolbecomes the stortingo whole step obove the stortingtone. @ Exomple13 .sequencehos on offsetfeel due to itsfiveexomple.

Eventhough it's only one note per string.This offerssome interesting improvising options. lf you hormonize scole.Either woy. it'so cool orpeggio but o bit trickyto ploy. still I olternote-pick orpeggio beginningwith o downstroke. Youmight find it interesting thot combiningtwo diminished orpeggios. o but v v v v ^ v e v ^ v o O o ^ ^ v o A\ Thediminished chord isthe only type resulting 7th from the troditionol hormonizotion the diminished of scole (3rdsstockedon top of eoch scoletone).Unil6: Diminished Arpeggios @ Examptet4A: C Diminished Arpeggio 7th There o few veryuseful ore orpeggios foundin the diminished scole. One woy to look ot it isthot it'sjustthe notesof o diminished chord voicingon oll sixstrings.This orpeggioison edited-downversion of the first.Thefret-hondfingeringisolsoshown. diminished orpeggio the The 7th is mostcommon. bosicolly lt's everyothernoteof the scolewitheoch noteo minor obovethe next.lt 3rd con be fingered few woys. T 2 ^ v v ^ v o O x v ^ A v o . Let'sfirstlook ot onotherorpeggiofound in the diminished scole. 7th eithero holf or whole step opori. let'sstortwiththispottern. 7th or b5intervols movingup mojor6ths.the result be eight diminished the will 7ths. con olsobe the lt ployed usingo sweep-picking technique. one builtoff eoch scoletone. creotesthe eight notes of the diminished scole.

Sth.we get thisvery horizontol.Example l4C: B Dominant DiminishedArpeggio orpeggio.b2.3rd.lt isbuiltwith the scole.This diminished o thirdtime up to the 1ststring. when descending.b2(b9).Theprocess scole. leovingout everyother note of the Thefinol diminished orpeggio.lt's o good orpeggiofor oltereddominonts' rooI.ond Sth of the dominont An unusuol continues up four-noteshope isthen tronsposed o mojor6th ond repeoted. B70e) :r v ^ !t v v ^ x ^ ^ v x v v ^ o ^ v A Example l4E: Flafted Sth Bb Diminished Arpeggio By orpeggio isoctuollyo stockof b5intervols.here'so five-note-per-octove Drowingfrom the dominontdiminished of 3rd. 87(be) v ^ x v v ^ v v v ^ v x !t ^ tt A ^ Example l4D: B Dominanl DiminishedSnape Arpeggio vorio1onof the lostexompleisconstructedusingthe root.A good left-hondfingerone-note-per-string 7th diminished orpeggio. when oscendingond the reverse ing is I -2-3-1-3-4 b- ^ v ^ 5 v ^ v .ond bTth the scole.

o diminished chord iso three-notetriod with o root.however.similor the diminished to chord. qnd AbdimT. ony dimirlisniO scolecon hove four roots. need to look o litfledeeper into diminished we chords thot showup in tunes. Example l5A Let'slook of o C diminished scole. .The scoleworksexoctlylikethe dimTchord on the guitorfingerboord. The imporfqnf lhing fo remember is thof fhe four roofs ore fhe uppel notes in ilre.isolsoDdim7.Mostof the chordsore substituting dominont7ths.lick.Besides being C.not the notesthemselves.isolmostolwoysusedos on olteredscole over functioningdominont7th chords. minor3rd. This meonsthot Bdim7.This eliminotes the need to leorndiminished linesin more thon one position.In theory. minor 3rd. or diminished. exomple.ond so on. for Before tolk obout usingthe scoleover dominonts.orpeggio."Aren't you supposed ploy the diminished to scole over diminished chords?"Theonswerisyes. we let'sfirstlookof diminished chords. scote. Sih.Fdim7.Unit7: Usi the Diminished Scqle Thediminished scole. Slidethe finge1ngpottern up or down three fretsond you get the some scole.the scole hos multipleroots. ond flotted.Becouse of this. Youmoy be osking. ony note con be considered oll the root.trolf steps. How thisreollypoysoff to improvisers the foct thot every diminished is sequence.three holf steps(minor3rd) oport.due to itsuniquetensionsound. con be ployed in four keys/positions the fingerboordond still on work over o given chord. Becouse four tonesore equollyspoced.All four notesore evenlyspoced. ond A diminished Gb. 7th This o four-noteversion is with o root.Theonly differenceisthe scole'srqnge (highest ond lowestnotes). it's olsoon Eb.The 7th only thing thot chonges isthe order or inverdonof the notes. 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 symmetricol o sequenceof olternoting whole ond holf steps.ond flotted Sth ond 6th (correctlycolled o double-flotted diminished or 7th). exploins for This why we con slideo fingeringof o diminished chord up or down three fretsond stillend up with the some chord. This principolworkshugelyin our fovor when it comes to opplyingthe diminished diminished scole. In oddition. Much more common in populormusicisthe diminished cho?d.

thesedominontTthsore primeplocesfor usto usethe diminished scoleto useover o dominont7th. usethe dominontdiminished. 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.ond Abdominontdiminished. scole tor G7 or C diminished relotionship between o domT ond o dim7. ond the root of the chord.Juststorton the root of the domT ond ploy coll scole leodingoff with o holf step rotherthon o whole step.22 Example l5B: DiminishedScale over Dominsn] Tths In modern musicstyles. .And in mony coses. B dominontdiminished olsoD. o CdimTchord. scole. dominontTthsore much more prominentthon dimTthchords. scqlefor o domTth.Thetroditionql Thereore two woysto locote the conect diminished scoleo holf step obove the root of the domTthchord:Abdiminished opprooch isto ploy o diminished is relqtethot B7(b9) essentiolly Mony ployers scole for 87 ore o few exomples.os mentionedeorlier. goth U. Belowiso B dominontdiminished ing 87 chord tonesond olterotions.Theyolwoyskeep in mind thisholf-step for Simpler mony iswhot might be cdttedthe modol opprooch. Choosethe opprooch Whichof thesetwo opproochesisbest?lt's up to you. dominontdiminished the resultThegrophic includes scoleshowingthe whole ond holf steps.Somemusicions thismode the o diminished scole.lf it'seosierto thinkup o holf step thot helpsyou quicklylocote the conect diminished rightout on go with thot. lowernotesin the holf steps.Thefour rootsore the hos scole.t the some results.ony dominontdiminisQed four possible Similor the diminished to is So. F. Butif you would rotherhove o scolethot storts grob the diminished scole.

ore ' r t @ Example16A:ii-V-lin C PRACTICE TRACK .' Puton the CD ii-V-l C ProcticeTrockond try out the diminished in scqleover the V chord. Whenyou've got thisposition pottern up o minorthird ond proctice the down o bit. Suggested in scolesorp shownbelow the stoff.The is composerwilltypicollyleove it up to you to chooseextended or olteredvoicings chords(Dm9.This how mostchortsqnd foke booksore written. you moy olreodyknow. Cmoj7.|3CI5). Tokethisideo o step furtherond pretendthe Db7.Youwillolsoneed to knowC mojorin thot qreo too. One secretisto pretend thot the Bb7. ll chord usuolly The octs os o set-upchord workingwith the V.Locotethe C-mojorscolethere olsoto remoinin thot position.You'veeven jommed over o domT vomp to proctice the scole. ii-V-l Progression C Mojor in Dm7 G7 D Dorion (C mojo) G dom/dim (N diminished) C mojor Noticethot the chordsore in theirbosic 7th form.the ii-V-l scole isover the ii-V-l progression the As is moinstoy iozzstondords pop music.This greot. slidethe diminished progression there. This o good thinkingsubstitute ot is becouseDb7isthe flot-fivesubstitute G7. As for os positions the fingerboord o good storting go. V in the progression the tension The is chord leodingushome to the I chord (resolution).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.G.etc.Think the common of G7 voicingot the 3rd fret ond ploy the scolepotternthere. isG7 ond referencethe diminished oI scoleoff of the Bb7. of Cmoi6l9.Theonly timesyou'll likely see big scorychordslikethisore on musicchortsthot hove o specific orrongement where certoinolteredor extended. Belowiso ii-V-l C.).Tryto moke the scole chongessmoothwithoutinterruption.voicings colled for. on ploce isoroundthe 3rd fret. Go up onotherminor3rd to the l2th fret ond pretend E7isolsoG7.lt's o simpleprogression incorporotes of ond thot one of the most importontond essentiol ospectsof music: tensionond resolution.you need to switchto the C scole. the 6th fret.Whenthe progression reochesthe l. the 9th fret. of : ' . isolsoG7. but proboblythe best ploce to stortopplying is the diminished progression. but only over the V chord.

Mostore rhythmicolly simple. to Am7 GmojT @ Example18 Next iso ii-V-l line in C with two borson eoch cl'iofd. Soon.TheAbdiminished plqyed over G7 o is usingo few shope ideosresolving Cmoj7.you'll be oble to moke them your own.pull-offs. hommers.24 @ Examptet 7: ihV-l Lineswith the DiminishedScale Now for o few ii-V-l lines feoturingthe diminished scole over the V. which mokesthem eosier leorn. Let'sstortwith o simpleii-V-l linein G mojor. Of course.lt storts with on Am9 orpeggioleodinginto on Eb diminished lineover the D7 resolving B. ond sweeps.Twob.the 3rd of Gmoj7.Once you get o few underyour fingers to ond in your eors. Thefirsttwo borsin thisexompledemonstrote bebop lineover Dm7. benefitby ployingprogressions chonge everyfour thot beots or even everytwo beots if the tempo isslowenough.ors givesyou more time to develop on ideo on you con hove the similor eoch chord.you'll be oble to moke slightrhythmicol modificqtions odd vorious or stylistic effects such os bends. to Dm7 CmojT .

A few stylistic triplets included.\1 @ Exampte 20 Movingto the key of D. stortingin o higherregister. Dm7 \21 CmojT A7(be) . the melodic tines this in exomplecon be switchedoroundto work over o turnoround too. on Abdiminisheo orpeggiosequenceoscends to o resolution up on o highE. thislinefeoturesmojortriodsover the AZ.creoting on oltereddiminished sound.) @ Exampte 2t Exomple iso voriotionof o ii-V-l 2l progression. over the G7.inspired ployers ore by suchos pot Morlinoond Joe poss. Dm7 . Thetriodsore Ff mojorond Eb mojor. well os severol os clossic bop phroses. typicolturnoround l-Vl7-ii-V. similor o turnoround.@ Exampte t9 Exomplel9 isonotherlinein c. thistime using16ths. is A is so.(SeeUnit9 on mojortriodsin the diminished scole. firstphroseiso clqssic the l6th-notetripletlickin D minor.which isfollowedbv G7 toking us to bock to cmojT' This progression ii-v-l-v|7. Vl7 isodded to set up ond resolve to o bock to the ii' In thiscose A7(b9) follows CmojTond resolves Dm7.

lt turnsout thot D diminished the some os Ab$iminished.Althougho few otherscolesore commonlyused over it (Eb mojor. is which isthe scole usedfor G7(bg). few liberties A were token to keep the shopes eosierto ploy.@ Exampte 22 Anothervery importontprogression be fomiliorwith isthe minorii-V-i. porticulorlick uses interesting This on crisscross fingerboordshope throughthe firsttwo bors. diminished olsoo good choice. Dm7(b5) G7(be) .They don't seemto conflictwith the diminished soundond come off soundinglikepossing tones. you cqn usethe some So diminished scolefor the ll ond V in minor. The Theii or m7(b5) sometimes is referred os holf-diminished to becousethe first three notesform o diminished triod. ForDm7(b5).C hormonicminor.except the i iso minorchord ond the ii iso m7(b5) chord.Theminorll-V-lin C minorisDm7(b5)-G7(b9)-Cm7. b9odded to the V in foke booksiso greot indicotorof o minorkey.Thediminished shope issevennoteslong ond repeotsdown b5intervols. worksthe some os o mojor ii-V-l to lt os for os tension-resolution goes. o D diminished the is use scole. ond F melodic minorfor Dm7(b5)).This resulted o few notesnot in the Abdiminished in scole (Eb ond A in the second bor).

!t ^ v hme 2 v O v v - v ^ X I $tra 1 once you leornond understond shopes. ond Shope3: 2nd ond lst strings.v ^ - v ^ v v ^ ^ v v v ihape 3 x.sogreotwoytoinventol|kinds of unusuql diminished ideosond isverysimple. the creote o melody with the notesof the firstshope.lt con hoy{ ostmonyor "ignt or more ond os few os three or just repeot the melody in eoch of the thrJe shopes.Themelody doesn't necessorily hove to hove sixnotes.|t. a Wg:BbDiminish .Living ritnin the bosic diminished scole pottern (Exomple 3o) ore three six-note shopes. four. Lqcn shope isfingeredond ptoyed exocly lne some. r \ Hereore o few diminished shope melodies l've found to be uery usetut.Then.Eoch shope is ployed-on two odjocent strings-shope l: 6th ond Sth strings. Shope2: 4thond 3rd strings.Unit8: Six-Note Diminished Shopes on"o six-noteshopes. Exomple 24A Exomple 24B @ Examples 24A-24F: Diminishedshape Melodies Exomple 24D Exomple 24E Exomple 24F .

28 .

m7.for exomple.Theyoll reoppeor. Eb. Shift four triodsup o minor3rd ond somethinginteresting oll just occurs. on ond Ff. C becomesEb. Youmight. This Eb process continues up onotherminor3rd ond so on.somevery cool sounds emerge. @ Exampte25: Creotinglines with mojortriodswithinthe diminished scoleiso fqvoritetechniqueof conternporory )azptoyeii.in this cose A7. Justkeep in mind the chord you ore ployingover.Themojor orpeggiosore A. ond doml3(bg)to nome o few. dim7. domT(f9).Thefollowingexompleillustrotes four mojortriod orpeggiosin posi1on the surrounding A7 chord of the Sthfret.stondsout for itssimpleond pure sound-the mojortriod. discovernot one but four mojortriodslivingin everydiminished we scole'Theyore equollyspoced minor3rdsoport. Byopplyingthe diminished principle.ond F*is now A. ond severol oltereddominonts: domT(bs).the pbsitions shouldbe bqsed on domT chordsos well. . lt doesn't motter in whot order you ploy the triodsor on which one you stortor end. However. Developing linesby combiningorpeggios from thesechordsofferso lifetimeof explorotion diminished in sounds. A7 (A) (Eo Adding togetherthe notesfrom eoch triod totols 12pitches. C. losethe duplicotesond the totol becomeseight. And sincemostopplicotions diminished of linesore over domT chords.the exoct notesof the diminished scole. experiment combiningshortphroses from eoch triod over o stqticA7 vomp.Unit9: Mqior Triqdsin the Diminished Scole A surprising numberof chordscon be extroctedfrom the diminished scole. Mqior Triod Posifionsfor Bb Diminished (A Dominont Diminished Scole Over A7 Thebestwoy to unlockthe power of the mojortriodsin diminished to leorntheirorpeggioshopesin speci1c is positions.however. in o different order'TheA triod becomesC. dom7. ond when combined. onotherchord.includingminor. becomes Ff. olsofound in the scole.ploy three or four notesfrom eoch triod. Withthe triodsunderyourfingers.

ond Ff7. E7. ony diminished ideo ployed on three consecutive fretscoversqll l2 keys. Mony of the ideos(especiolly sequences) thisbook ore quite long. three-noteshope on two strings. Move it up one more fret ond it now covers87. Eb7.The for to ploy everytriod in thislineusingthe some exompleshows one thot worksfor me. exomple.Becouse there ore mony possible woysto ploy lineslikethis.lt beginswith the 5th 26 the of eoch triod followedby the root.They'regreot for leorningthe fingerboordond buildingtechnique. however. @ Example27 This voriqtionof Exomple reononges triodsinto o four-notepickingsequence.followed by the next two notes 'position quite o bit of on the 4th string. stortingon the 3ru fret. importontto rememberobout symmetricql Something linesisthot you ore more likely ploy shorter to segmentsin reol-world soloing.it'schollenging guitor ployers find the bestfingeringpottern.C7.30 @ Example26 Hereore some exomplelinesdemonstroting concept. This requires shifting often worksout better in but mony situotions. Ci7. This meonso diminished for A7 ployed of the Sthfret works line tor A7.In foct.but you probobly wouldn't wont to ploy them in theirentiretyin on improvised solo. Move the lineup one fret ond it now worksfor Bb7. I might of timeS.ond Sthogoin.qnd G7.F7. 2nd ond Sthfrets. They'reoll nototed in the some key becouseof this the eose in which diminished linescon be moved in minor3rds.tl'eiflrst triod would be ployed the some.often the in coveringseveroloctoves.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.3rd. Sth string. D7.but the following For A C triod would olso be fingered the some.

@ Exampte 28 Somerhythmicvoriotionisqdded to the next triod lineto demonstrqte one of thousonds possibilities. trigds. Eb.Eb ond C. 29 but the Agoin. Fingerings be chollenging. This sequenceofferssomevery cool melodic possibilities. when introducedto symmetricol scole melodies ond sequences.it's o bit eosier. Filtriod isployed storting its3rd. ond Ff triqdsore usedfor thisA dominontdiminished lin0. Following A-mojortriod in root position. I think con but you'llfind it'sworth the efforfto work them out. comptetes This the bosicsequence Now the entirelineisrepeotedo minor3rd higherond so on.ore the ployed in differentinversions. of Rhythmicol phrosing. once you understond formulo. exqmpl6s. @ Exampte29 Exomple lookslikeo workoutof first. A7 .then Sth. before o btuesyending. on octove higher. Thelinestorts with on A-mojortriod ond then jumpsup to the F$.Thelineiso 9-notesequencethot isrepeoted up minor3rd intervols. unlikethe previous But. A. C. on on on TheEb triod beginson the Sthto the root ond 3rd leodinginto o C-mojortrioOin root position. some phroseis repeoted with the next The two triods. TheA-to-Eb triod phroseisthen ployed ogoin. con reollybreoth life into theirsometimes predictobleond mechonicolsound.ond root.

exomple: Bb. G. ono ore withthe b3on top.the sequenceis inverted' ond c triods.torlort The triodshopes. nextexomple ofcs fournotesof q minorpentotonic con The mixedwithmojortriods.followedby Eb lt l6th-notetriplets' olsomokeso in or slides hommer-ons severolploces.omongothers. minor7thorpeggibd osg 5e thought This 5-b7-root-b3') lineis Eb fromi-minorpentotonic. @ Exampte32 .the next lick useso bit of rhythmond o posing note the Using concepr frornthe previous isolsobrokenup to moke it soundless The in the firstbor) to odd more musicolity. (For horizontolfoshion' to it position becouse iseosier ployin o descending fingerboord locotedin o higher @ Example3l (F noturo exomple.with on A-mojortriod. eight-notesequence oredictoble.Add the very you like.o. when the lineoscendsin the second bor. 30 @l Exampte scolethrough the hoveexplored diminished greots Johncottron"ond chick coreo.the linemovesto on Descending 30 Exomple opproochesthe triodso bit differenfly. Jozz 7th minor orpeggios using sequence eight-note demonslrotes.Alsotry it os 8th-or This line invites os o pickup to stort out if lost E note good technique exercisewhen repeoted severoltimes. c. Filtriod.

The entireline isnow repeoted storting Eb on ond ogoin on A on octove higher.This greot news but ii when you're tryingto get the mostout of lines you leorn.Atthough ii.sstillin the Bb diminished scole. cm7. you might 1nd the but lostbor o very usoblelick. Here' osline usingthe four minor7th orpeggiosin the Bbdiminished scole(Am7. givingit o similor differentfeel.Thesequenceiscompleted with o descendingA-mojortriod. spoced minor3rdsoport. And in every diminished scolethere ore olsofour minorzth orpeggios. lt justmight soundbetter thon ever. This Bb becomesthe Sthdegree of on Eb triod ond isfollowedby the root ond 3rd. ond This onotherlinethot's o good technicolexercise is when repeoted mony times. @ Exampte34 Thefinoltriodicdiminished demonstrotes line combiningtriodswith on unequolomount of notes.differentnotesore occented. instonce. move it to onotherlocotionolong the minor3rd cycle. Ebm7. Thebest-kept secretobout diminished lines.it tokeson o differentsoundfrom the originoilocotion. such os the exomples covered so for. .if you get bored with one of your Jminishedlines. we ore soloingover A7 ond ploy triod Exomple For if 2g moved up o minor3rd (or bsihor 6th).This mokesthe linesoundmore interesting ond unpredictoble. rootposition C-mojortriod.| A four-noteA-mojortriod beginsthe linefollowedby only thr& rtotesof on F* triod ending on Bb.ishow one line con become four uniquelines.Usethe losthigh C#os o pickup to the beginning. o l6-note sequencethot isrepeoted up flot lt's Sth intervqls' entirethree-borlineiso tremendous The fingering ond pickingexercise..So.@ Exampte 33 Minor7th orpeggios con olsobe thoughtof os mojortriodswith on odded 6th tone. s . c$m7).Thencomes o four-note.

ponoriiote: Good soloing. thislick shouldbe set up with scole' Mixolydion @ Exsmple36 . stoticc7 bluesricr< scole.grooves. few exompres to for exompre.. lt combinesthe c bluesscole A nonsensicol. scole choicesfor oll of theseore the some' proper scole over stotic chords'ison exercisein Another i. 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.simportontto rememberthot q stoticchord rikec7.ll leornsome diminished ond domT(f9)' over m7. your solowilllikely home scole. obviousstortscole linesover stoticchords'A stoticdomT isthe ln thissectionwe. 3 L diminished @ Example35 lick onotherbluesydiminished for c7' To hove we. you need to weove phrosing. soundtoo outsideond scolethe entiretime. . combiningthe sounds fusion or jozz+ock. Bythe eorry gove stondords of sophisticotion jozz.| UNIT 0: Usi ScqleOver Siqlic Ghords he Diminished ond instru.however.r970s emerged from the worrdof ioz. diminished demonstrote o ing proce.creoting usingo c bluesor o c on insid6bluesor iozzphrose on effectiveimpoct.olternotingit with tfp To moke the scoresoundrilnt.lf you justploy the diminished ond the c dominont otr storts inir qecilrn. Cl l' Cl3' CTsus' dominonts.This wrong only o decode before' ond melodicminorin plocesconsidered whole-tone. m7(b5).berongs o lorge fomilyof extended rt. ttn of ond Bb/Core extendedversions C7' And for soloing' Chordssuchqs C9.Troditionoljozz mentotionof rock with the hormonyond improvising ond modoror stotichormonies' thot reriedmore on rhythm.ll odd o few bendsto the next stoticexomple.usingthe diminished in ond out of the scqle.

Joz.the next lineover Cm7 useso Dbdiminished scole in the second ond third bors'In thisopprooch. Applyingthe diminished scolethiswoy isdefinitely o technique reservedfor iozzsituotions. Thesecond bor twistsinto o few mojor triodsfrom the Abdiminished scole before resolving bock to cm7. Cm7 (G70e) @ Example 38 Creotingmore of o modern. including diminished ond whole-tone.) or Tokecore not to overemphosize E notes the (mojor3rd) over the Cm7. exomplesolso demonstrotetwo differentopprooches The to superimposing diminished the over m7 chords.Wellto ploced G7 ideoscon odd significontly o solo.the Cm7 istreoted similorly o C7 by the useof the some diminished to scole.These ideoscon be impliedwith to G7 severolscoles. An exompleiswhen soloingover Cm7. Cm7 . @ Exampte 37 This exompleshowso more troditionol opprooch.(ForCm7 useC dominontdiminished Dbdiminished.ployersfound thot they could creote tensionond resolution over o singlechord by occosionolly hintingof itsV. Exomple37 iso two-bor line with the firstline o jozz phrosefor Cm7.outsidesound. ploy shortG7 phroses thot resolve bock to Cm7 even though the occomponistcontinues ptoy Cm7.Min o r Thenexttwo diminished linesore over o stoticm7.

The chord hos both o mojorond minor3rd (il9)thot isolsoreflectedin the scole. This con qlsobe ployed over C7. @ txampte39 Thelickstorls with on Em7(b5) orpeggioond chongesto E diminished leodinginto the second bor.Theno bosicdiminished sequencedescendsbock down to the chord'sroot. c7($e) . r @ Example 4O This useso five-noteDbdiminished lick shope olternoting with o C-minorpentotonicscole.Think it os the sqme os o dimTond locote the diminished of scole rightoff of itsroot (Em7(b5). for :' DominqnfT(tg> Thedominont7($9) one of the only oltereddominonts is thot [ . FromHendrix's "Purple Hoze"to numerous bluesond funktunes.ito usedin stoticsituqtions.Em7(bS) olsobe line qnd con thought of os o substitute C9. E diminished use scole). is Becquseof itsdiminished properlies. m7(b5) o the is noturollocotionfor the diminished scole.the domT(*9) lendsitself well to the diminished scole.Minor 7(b5) Unusuol still but worth considering o stoticm7(b5). Em7(b5) C7 ore both in the key of F mojor.

stick with them or feel free to modifythispotternto suityourtechniqueond styte."Onlyone pottern?.. so thispottern is not only on A wholetone but olsothe B. 3rd.Df. Justos with the diminished scole..R.C$. This on especiolly is eosytoskfor tne wnlle-tone scqlesincepotternsrepeot up or down the fingerboord every two frets.4th. some usetheir lst.lf you olreodyknow o 'ngering or two. 2nd. F.ond 4th.it'sonly procticolto leorn one movoble pottern.ond G whole_tone scoles. ^ - v x A ^ .Remember. for you moy osk. A Whole-Tone Scole v x ^ ^ tt v v tt ^ ^ v v v ^ v .ond 4th fingers. @ Example A: pATTERN 4t #l pottern givesyou o ronge of two ond one-thirdoctovesond uses This three-note-per-string moveson the 6th. Mostployers (including me) usetheir lst. however. ony note in the scole con be the root.TheWhole-Tone Scqle UNIT l: Fin I s of lhe Whole-Tone Scqle !et's stortout by leorningo good fingering the whole-tonescole. A good pickingpottern for thisscole isto useolternotiqgpricking storting with o downstroke the firstlow A. on . Theultimote gool isto be oble to ploy the whole-tonescqle onywhereon the guitorin ony key.. ond lst strings' These con be o bit of o stretchif you're not usedto them. especiolly toweron the fingerboord.

As I hove mentionedbefore. the whole'tone rightfrom the-beginning.we hove o streomlined ond move You moy instonces.it isimportontto heor. the diminished.Ex thot.Justvisuolize leorning roots. As how o scoleworksmusicolly. stilltheA whole-tonescole. So. you proboblyfiguredout by now.while scole will stillbe in the some key. ployed over o dominont 7th chord.it isstillo greot ideo to proctice the scqleover o stoticdominont7th isover o functioning chord vomp. in mony version the Byremoving bottomond top notesfromthe firstpottern.locoted every other fret. on the low E stringos o guide' rRncrc @ tz ppncnce . dominont7th.s A7 groove on the CD to ploy olong with. only the ronge (lowestond highestpossible ond usethe on the pottern over the A7 vomp.but it's proboblyeosierto thinkof it os the B whole-tonescole. Althoughitsmore common usoge primorily is like sCole. be moreuseful. end up withonlyone three-note-per-string (4thstring). move it to other locotions the neck. Scole BWhole-Tone #2: 4tB: PATilEPN fhe "SPeed" Version Scqle How to Leqrn ond Prqctice the Whole-Tone on Here. One greot thing obout the whole-toneisthot you con simplyslidethe pottern up or down two frets'The notes)will chonge. the lt's pottern loysnice in one position.

A v ^ .two-note-ond three-note-per-string versions. @ Example4t c: Two-Note-Per$tring Pattern(c whote-Tonet This exompleisunusuql thot when oscending. Mostployers usetheir lst. ond 4th but you. lf woit o few monthsbeforetocklingthisone.they inevitobly spend time on the horizontol threepottern. wotching your firstfingeros might be better for the try o guide os it movesup or down b5intervols. eosyto ploy becouse in lt's there ore only two notesployed on everystring. lst. 3rd. v v A ^ v v ^ ^ v 5 v A ^ 7 ^ Example4l D: Three-Note-Per-Slring Paltern (G Whole-Tone) When mostguitorployers studythe whole-tonescqle. To keep your ploce when crossing fingerboord. usemy lst ond 4th fingers. you moy feel more comI but fortobleusingyour 1stond 3rd fingers insteod.q ^ v v v ^ q v v v ^ ^ v e v ^ v ^ v v ^ - 5 A ^ ^ . you'rejustgetting your feet wet with the whole-tonescole.Good for long runsond chonging positions.it movesdown the fingerboord. ogoin. pottern istwo whole stepsper note-per-string the stringmovingup b5intervols. ond 4th fingers.39 Addilionql Whole-Tone Pqfrerns Hereore two more populorpotlernsfor the whole-tone scole. 2nd.

o the ond or downto the nextstring Thepotternisverysimilor the first set.:o.4-3.iii:::.lsion r:ltl?.ond.Ex 4l E: Five-Nole There's one more pottern I wont to showyou.i. con invent on the threestring sets: We v.yi:. to shown (Exomple withthe eorlier 4lo) exception threenotes of rother thontwo ployedon the 2ndstring.e concept. l?i3.2-1. only two notes ployedon the 1st ore strirg. o rive-nore tt's whote-rone rhor ptoyed shope is with the diminished e v v ^ v v ^ v v !t ^ v O x ^ q v ^ v ^ - ^ .:y.:_t":: 6-5. similor the six-note to shopeswe ployed Whole-fone Pollern melodies within shopes oroi'"li"i.

timesuntilyou get it down.Procticeit slowlyond in time (with o metronomeor click) of first.Lookfor mon I 234-2g45.. sequence. firstone isfor the A whole-tone Hereore o few useful etc. with thissection(moybe 8 to l6 noteslong) ond repeot it severol exercise . then isoloteond emphosize difficultoreoseitherin pickingor fingering. Moke up o short thosesections.Scqle Sequences 12= UNIT Whole-Tone @ Exomple42 the comscole ond uses This whole-tonesequences.

Think thissequenceos o four-notemelody of repeotingdown in descending3rds. would proboblynever ploy o long sequencelikethisexomple. @ example44 How obout one of thoseclossic soxophone whole-toneriffs. Butleornond proctice it in itsentireform to help buildup yourtechnique. In reol-world you improvising.@ Example43A Thenextsequenceisbuiltwith mojor3rd intervols moving in o porollelfoshionup the A whole-tonescole. .lt's preferoble to useshorter segments connected to onothermelodic ideo. Example 438 Here's some3rdssequence the descending.

@ Example 47 Bosedon the previous exomple.lt mokeson interesting on linefor 87.thisiso ten-notemelody repeoted q 9th intervolbelow. Sequences thisone with five-or six-note like phroses soundmore interesting becouseit's difficultfor the listener trock the repeotingpottern.@ Exomple 45 *ere ison unusuol seven-note sequenceolong the lines John Mcloughlinond Al DiMeolo.lt's o littlechollenging ploy but well worlh the effort to leorningit. remember to but thot every note in the sequencecon be the root of o dom7.Youcon see thqt it'sthe some firstsixnotes(storting B thistime) with four descendingscoletones. which it willolsowork over. includedthe fingerings thisone l've on to help you work it out. lt's o six-note melodythqt isrepeoted down b5intervols. of Odd-numbered sequences con soundvery cool becouseit's hord for the listener detect obviousnote groups. .Every whole-tonemelodycon become o sequencewhen repeoted in onotherlocotionin the scole.Check it out over Bb7. to @ Exompte 45 I usethisnextsequencewith everyscole I know.

to do it borringthe two strings in useful the future. connect them togetherto creqte one "sweeps" the smoothorpeggio..Themostchollenging since try to Althoughit's possible ploy thesetrio noteswith seporotefingers. whole step oport.the ougmentedorpeggio outlines meonsthot two ougmented slidethe orpeggio up or down o whole step. symmetricol good fingeringpotternfor the ougmented everyother note.simply hove picked up on thisfor o orpeggios. form the notesof the whole-tonescole.ony note in on ougmentedorpeggiocon four.When compored to the whole-tone.This noteslefi out in the scole.lt's importontto remember the root. followirp ougmented/whole-tone yeors.Alternote-pick notesto get it cleon before you ventureinto the lond of with thisorpeggio.To ploy the As we justleorned.Arpeggios UNITI3: Whole-Tone the orpeggiothot best reflects whole-tonesoundisthe ougmented orpeggio' lt's olso Theone troditionol the in thot it isbuiltwith mojor3rdsone on top of onother.switching Doug thot. Belowiso ougmented orpeggiosounds port might be borringwith ihe 2nd fingeron the 2nd ond 3rd strings. g 2 i 4 2 2 1. likethe whole-tonescole.- '4 o r I 1 2 2 4 v ^ v ^ ^ 5 ^ tt v A o A Example 488: WholeSlep everyother note in the whole-tonescole.Ployers The sounds. be considered v v ^ ^ v ^ v 5 ^ v A o v A . thistechniquewillbe extremely Youmight find it helpfulto leornthisorpeggio in two ports:Ploythe firstfour notesover o few timesond then work on the higherfour-notegroup.Once you get them down.combiningthe two orpeggiosto creote mony interesting (or Bboug) the top for to line iso two-octove orpeggiothot isCoug for the firstfour notes. orpeggio.

v v ^ 5 ^ v ^ v O - ^ .Thesecretisto fingerit l-2-3-l-3-4.ond b5. Built to keep it in o verticolfour-fret in on unusuol foshion oreo. ^ v ^ v ^ v v ^ v 5 ^ v A ^ - /^\ v Example48D: Bb(bi) AugmentedArpeggio lt This next orpeggiois builtwith b5intervols.it'sfingered Hereisonotherwhole-toneorpeggio usingthree notesper octove. olsoon ougmented orpeggiowith everyother note omitted.Coincidently. Here's the whot I collthe Whole-Tone Arpeggioby combining two ougmentedorpeggios Cnec kit o u t .3rd.With only it's it's one note per string. ' r E i ? A - v A\ U ^ A v v Example48E: l-3-b5C AugmenledArpeggio usingthe root.Example48C: C Whole-Tone with the scole. might look fomiliorbecousewe olreodyleornedit os o diminishedorpeggio. o bit tough to ploy.

which includes few chromoticpossing the o notes. $Sth.UNIT14=Usin the Whole-Tone Scqle Applicotions the whole-tonescolesore similor thoseof the diminished of to scole. bsth.We discussed eorlier functioning ond stoticdominontsond showedo comporison tfx of whole-toneto o dominqnt7th chord (Unit2).2nd. Following Dm7 line. *5 chords.the whole-tonespeoks very specificsound. ploy it olong with the trock untilyou're comfortoblewith the chonges. Mostmusiciqns of know thot becouseof the olteredSths.however.DomT(bs).stortmemorizing ond odding the followingexomples.iso stroight oscendingG (or B) whole-tonescole over the G7 thot resolves with o C-mojorscole polern over Cmoj7.creoted by thisscole.chOitorting ploce for the pottern.you olsoneed to resolve the C scole. Youcon see thot the scole creotesthe root. for And thosesituotions over dominont7th ore chords. Afteryou hove spentsometime procticingwith the ii-V-l proctice trock.Mostogree it does not soundvery reloxed or homey ond shouldbe reserved very specificsituotions. To reollyunderstond whole-tone's the potentiol.'g"ts roldfriendthemojorii-V-|progression. or o Exomple 49: Whole-Tone ii-Vl progressions in t"t. or even spookywhileothersthinkit hos o modern outsidesound. Ihi willforce you to preporeoheod for scolechonges. Cmoj7.lt is.odd. but remember-only over the V chordlWhenthe progression resolves the lchord. This doesn't meon thot you con ontyploy the whole-toneover ougmented. good thing to keep in mind.Thegood newsobout the whole-toneisthot itssingle pottern isolwoyswithinyour reoch.in on ougmented direction.Stort to to out ployingnonstopeven 8th notesuntilyou con moke the scolechongessmoothwithoutinterruption.Returntotheii-V-|inC ProcticeTrockflrock 18)ond try out the whole-toneover the V chord. Mostore rhythmicolly simpleond eosyto leorn. ond bTth o dominontchord. Eoch one of thesenotesiso root.Whenyou get one down. 3rd.Somesoy it sounds o unsetling.you need to understond mokeup ond how it compores its to o dominont7th. leonsthe this sound. visuolizg the whole steps(storting the oll ot 1stfret) olong the low E string. Dm7 G7 50: with the whote-Tone scale 9 Exampte ihv4 Lines CmojT .Typicolly treoted os on olteredscole. ForG7.

hosseverol consecutive string-ougmented which con be chollenging pick. We're olsomovingdown to o lowerfinin gerboord positionoround the 3rd to Sthfret oreo. Althoughthe lostnote in the bor (G$)is not in the G wholetone scole. to ond mojor 7th orpeggios. Cm7 .@ exampte 5l Thenextexompledoublesup with l6th notesfor onotherii-V-l C. A troditionoljozz-style melody stortsover the Dm7.settingup the big whole-tonelick in the second bor.it serves o leodingtone to the Sth of CmojT(G) in the lostbor. os Dm7 @ Exompte 52 This ii-V-l linein Bbbeginswith o Pot Mortino-inspired Cm7 lineond then movesinto o descendingwholeto lt tone/ougmentedlineoverthe F7thot resolves the root of BbmojT.

/t8 @ Exomple 53 This finolexompledemonstrotes notesbetween scoletonesto give o bebop flovor usingchromoticpossing Thepossing notesin to the line.I olsoincludedo few rhythms breok up the lineto moke it more musicol. Am7 . to notesbetween the whole-tone(D7)ore ploced ofter the C. E. Gf. you might losethe whole-tonesound.ond lowerC.ending up with nothingmore thon o chromoticscole. lf you tried to odd possing everyscoletone.

Alsoshownore s0ggested for scoles. Youcon switchbetween the bosic scoleond whole-toneif you like.In mony instonces.the ll7 iso ii (minor7th) chonged to dominont. @ Example 54:II7 progressionproctice Trock Here' osshorteight-borprogresionfeoturingthe ll7in bors3 ond 4.Forexomple:for D7. doesn't resolve the some woy os o V chord but is it in stillo condidote for on olteredscolesuchos whole-tone.Tunes of suchos "TheGirlFromlponemq" ond .useeitherD whole-toneor D Mixolydion mojor). colled o secondorydominont.Thell7 iso very common chord usedin hundreds ioz. (G 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 . Don't feet is obligoted to ploy the whole-tonefor the entirebor (or two).-Toke A the Troin" useo ll7 os o primorychord in the progression.. foct.Usingfhe Whole-Tone Over the ll7 Anotherpopulorlocotionfor usingthe whole-toneisover the ll7. ond pop tunes.I've olsoincludedo flot-five substitute (Db705) G7) in bor 8. TheCD proctice trock for thisprogression o bossonovo feel in o mediumtempo. bossonovo. the whole-toneond melodicminor(up In o Sth)ore the two scolesof choice for the ll7.

Solo*l @ Exampte55:II7 Progression
while plocing Agoin,juststortwith eosy rhythms over the ll7 progression. Now for o few exomples solos of licksnot fovoritemelodic ideosond o few intervollic more emphosis the melody.l've includedsome on only for the whole-tonebut olsoover the mojTond m7 scoles. joz motifs. clossic 8th Thefirstone wos writienusingeosy-going notesond hosseverol

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, sequenceisrepeoted in bor 3 (beot 2) with the D whole-tone, The 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 intervols 4th obove eoch scoletone. Thelineretoins whole-toneflovoreven o though the upper intervqls out of the scole,In foct, these upper intervols ore 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 o solo.Agoin,on importontospect to in 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 onotherchord (A7 resolving D, for exomple), to to

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

@ 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. we switchto o whole-tonephrosein the second bor. @ Exampte 60 only in o jozz-siyle bluesgroove con you get owoy with o lick likethisnext exomple. stortingwith o btuesy opening linefor C7. . lt combinesthe whole-tonewith o few ougmented shopes.

flot ougmented Sths.(Don't up forget thot guitoris need to moke the properodjustments the intervols to when usingthe 2nd (B)stringond subsequenfty the lsi (E)due to the tuningdifference. o noturolbreedingploce for on it's unlimited omount of ideoswith thr diminished ond whole-tonescoles' shortmelodies con be inventedond moved ond repeoted in ony num ber of intervollic directions. As for os the whole-tonescole goes. ondSrh It con olsobe ployed on for . Sths.) Example6l B: Wholefone tnterval Study Here'so littleexercise/lick help you leornthe intervols. ond m7thscomprise the wholetone scole' Belowiso fingerboorQ grophic showingthe intervols builtfrom the root in o whote-tone scole beginning A. you con stillploy ony of the intervols or down from thot note ond stillremoinin the whole-tonescole.symmetricql plovoro scqlesGeomefric Theguitorfingerboordiso mogic ploce when it comes to symmetricolscoles. strins i::::T"1'::tj::::Y:i]Pjll only two strings o ffreexompre ill!9: ls finger-stretching butorso rhe3rd. mojor3rds. on @ Exampte 6tA whot's interesting the foct thqt no motter whot note in the scoleyou stort is on.it's importontto visuolize ond leornthe vorious intervols thot ore pres ent withinthe scole'Whole-steps.l on 4rh. Visuol shopescon olsobe explored. Becouse fingerboordis the loid out in itsown symmetricolform. good gool isto leorn to A thisexercise with the woke-upexercise.UNIT 6: The | tboqtd . forminglong interesting lines. in ooou.

linesby ployingthe X'sond movingthem oroundthe fingerboord. Forexomple.but on ougmentedSth below C isE. A bsthobove ond below D ore both Ab.ould ever thinkof. the obove or below o given tone.isGil. lt'sthe entirefingerboord fingerboord Lookqt the weird-looking Justlook of the numberof geometricshopesyou con spot rightowoy. lf we stockedb5intervols would octuollybe the ougmented orpeggiowe leornedeorlier.everystring. chord hormonized unusuol Thenploy them. for the some descendingos oscending.(l-his oll we or ougmentedSths. workedout severol .Or o mojor3rd obove A isC* whileo mojor3rd below which isthe obsolutemidpointof qn octove. They'vefound A tot of good ployers Just ideos.Whot would hoppen if We'd end up with the whole-tonescole.Onlythe b5intervol.guitorployers con inventmelody lines bcord'svisuol v.of course! we stockedseverolmojor2nd intervols? ond of version meosurements ore to One very importontthing obout intervols remember-they ore music's Theshopesstoyexoctlythe some. orpeggios. I this One potternthot jumped out ot me when studying whole-tonefingerboordisthe mony X shopes.Tryit yourself. ideos. exomple.is intervols thot you con stockthem. toke o ond o weolth of single-note voicings. Lockof it in termsof chordsos well os single-note this hove come up with uniqueideoslookingof the fingerboord woy. of Becouse the fingerwith the whole-tonescole?SHAPESI \!hot does oll of thishove to do with improvising with thisscolethot no other instrumentolist geometry.) the scole. producesthe some note either A isF.the noteswould still you ployed o stockof severol mojor3rd intervols. sccle on everyfret. Fingerboard Example6l C: Whole-Tone showingthe whole-tone grophic below.Be sureyou understond workingsof intervols ond how they loy on the fingerboord. would get the some result: noteswillstillbe in the scole. pencilond circlesomeshopesor potterns.An ougmentedSthobove C.if Anothercool coincidenceregordingthe whole-tone's stoywithin one on top of the other.

ffJ:H::#Tl:%ffi. X Or how obout o four-string u" ne X Shope @ Exampte 63 once reochrop lmfil:?nj..m:ri#.rx'o""'J'.56 Thenext " 62A: Three$triWpne P Exampte X Shape _string shope."Jojor3rds rhe vou Nextoresomeof my fovorite lines using these shopes. the X e .. X Using somesix-note shopeos Exompl 62A.

lt requires trickypickingpottern.riis one ison eight-noteX shope thot isolsorepeoted up mojor3rds.lt's difficultto pick due to the ropid s"'9 chongesond tough on the left hond becouseof the stretches. go for it But onywoyl . o 3eginwith on upstroke the firstnote ond olternote-pick followingseven on the notes. proctice thisfirsteight-notepottern severol timesto get the pickingdown.This completesone s^ope' Beforemovingon. here'sq four-string X-shopeline. @ Exompte64 @ Cxompte 05 --s'to see if we con octuollyploy it.

I nope ii wiilinspire but you to come up with your own inventions. ond then the F to oon the lst itring.ond diotelyployed the next exomplewithout immemissing note.Here's quick story:I showedo similor o whole-tonegrophic fingerboord o student to of GITone doy when we were workingon whole-toneideos. Now move up onotherfret ond ploy the some l2-note sequenceogoin' lt's o greot string-skipping exercise..Then move up o fret qnd do :ne some with the 5th' 3rd.ond 2nd strings.. I wos omozed. con eitherleornit from the You musicond tqb below or look bock ot the neck diogroni ond ptoy it visuolly. Thestudent-took one l6ok of tfre neck ond soid. Hejustwotched the neck o diogrom ond ployed. rhis|inei''i erboord. .StortwiththeFtoGonthe 5th string' the Eb tof on the 4th string. sure'thisiso bit of on extremeexomple of the kindsof ideosthot con be discovered geometricolly.cooll. P Exampre66: Geometric whore-fone$uper-Lick F .

Check'em outl Example 688: DescendingA whore-Tonepoltern Reversed .it winds throughthe C dominontdiminished scole before finishing with o bluesriff.Beginnlng wlth o bebop phrose. soundedgreot! Thefollowinglinesore simply lt the firstwhole-tonepottern (Exomple 4lo) with the noteson eoch stringployed in reverse order. @ Example 67 We'llkickthingsoff with o good C7 lineusingthe diminished scole.he ployed the pottern reversed storting with the highestnote on every string. up .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. I leornedthem from o student who wos tryingto work out the whole-tonepottern but didn't understond fingerboorddiogrom I the showedhim' Going up the scole. Scmeore writtenwithoutchord symbols becousethey con be ployed over mony differentchords. ? @ Example68A:Ascending WhobfLne pdtern Reversed A Thenexttwo whole-tonelicks soundsurprisingly for how simirle cool they ore.

con olsoturn thislick into o trickychops-building You exercise repeoting by it severoltimes. thinking it os q whole-tone. surprisBut.things-might stod te soundoverlychromotic.lt sounds it over Eb7.Thesecretisto odd only o few to retointhe soundof the scole. G705) .thislineisolsoin the diminished scoletoo.it's o common techniqueto odd possing neighbortonesbetween scoletones.(Youget extrq credit for moving it up or down two fretsevery time for the whole-tone ond three fretsfor the diminished. ingly. Ployit over A7. but olsotry shortexompleof odding o few notesto o whole-tor1e melody.Thenext line iso possing greot over G7. over oll sixdominontsin thiswhole-tonekey! 87. or Possing tonescon smoothout ond extend wholeitoneideos.60 @ Example 69 Nextiso good string-skipping whole-toneline usingougmented sth intervols movingup bSths.Ployit over of 87. whot the heck.lf you odd too mony. ond.thinkingof it os diminished.) @ nxampte 7O As with ony scole.

Anotheropprooch isto begin with two downstrokes on one upstroke the high G$' ond then on on D. bock down the some woy.up scolephrose. on up in order(storfing C) but with certoinnotes qbout pickingthisline. down. especiolly con odd o lot of musicolenergy sequences. which stortson the second note of the firstbor. you'llbe oble to odd the some synOnce you understond rne finol bor. bock down to frrst. down.Leornthe bosicsequence -. up.rs one. up. lt oscendsto high Ebbefore reversing them.lt con be olternote-picked. copotion whereveryou wont in the sequence 7l @ Exampte lt's whole-tonelines.Breoking lineslike odded to o diminished rhythmicsyncopotion iromple 7l demonstrotes qnd ottitude. etc' 72 @ Exampte .then one downstroke the F$. then one upstroke the high E.Thenfigureout the rhythms. Thenrepeot:down. justthe notesof the scole ployed I hod to throw in one of my secretoctove-disploced once we hii the high D. we go ployed on octove higher. Thereore o few woysto go on the C ond on but stortwith on upstroke the low C.

Theline resolves the 3rd of Cmoj7. the next on A (fourthnote of bor2).firslbor (c to. ond the next on Ff (ninth note in bor 2). Cm7 BbmojT . con olsothink of it os five-noteshopesployed *You three timeswith the firststortingon c (secono+o--tbsi note in bor l). This time. the octove-disploced diminished Gb beginswith the losttwo notesof the. pottern is moved the up o whole step (two frets)ond ployeo ogoin beginning on low A.D).Thenext exompledemonstrotes how you con usethe previous in o ii-v-lprogression. offer the first five notes ore ployed (up to Eb).the next line isfor o ii_V_l in Bb'After the cm7 bor. . line Following the Dm7 melody in the firstbor.the octove-disploced whoie-tonebeginson the low G.which iso nice jozzdescendingphrose. on Dm7 ^1 vl CmojT @ Exampte74 Applyingthe some five-noteoctove-disploced sequenceto the diminished scole.

Thefirststorts on oscendingwhole-toneorpeggiosequence. Theline requires lot of string-skipping mqkeso burningoscending(or o but descending) diminished lick.you might only need to ploy os litfleos o singlebor or so to get the point ocross. Or ploy the lineos triplets. Youcon continueup the two strings long ond for os you wont.plocing the firstnote (A) on the firstdownbeot of bor 2. Also.@ Exompte 73 Finolly. E7(te) . toke we o rightturn ond heqd up the neck.try chongingthe rhythms os whileyol ploy it.Butwhen it reqchesthe 2nd os string. Move oll the notesto the right.toking odvontoge of the mojor-3rd tuningbetween the G onO g strings. A705) @ Example76 Thediminished-speed versiontokesodvontoge of the mojor-6thtuning between the 4th ond 2nd strings ond between the 3rd ond lst. here'so couple of whot you might coll speed licksfor both the whole-toneond diminished scoles.In o solo.

FinqlNoles Thonkyou for checkingoui thisexplorotion of the diminished ond whole-tone scoles. noi negrect do thesescoles'os well os other scoles reorning theoryof how the ond theirchords. ond conceptsond work hord on them. However. il.n*"d you ideos rhe sooner -Don Mock .#fi:.work in music. os soonos possibre.5:#.And when proctice time isdone for ihe doy' put on some recordings your_fovorite of ployers. hope you...or"rrriv ror how they usethese sounds.".:".[:T:f"3:i[t5T:fiiliiiil[i.1""f.ve found some ideosthot con benefityour ploying.J.1.Listen . lines. mony proyers Not (incruding on o doily bosis me) con use every ideo in o ooot< such os thisone. mosl importont'get them into your ploying Then. I Don't feel thot you mustconquer everything good ployer'choose o limitednumber in thisbook to be o of potterns.

immedi_ ately presenting useful tines and patterns that you can use now.*Ur*r"rd re .K FRUT BIIHKTR BROS.ri. All music is writ_ ten in and all music examplesare contained on the . revealingeasy ways to create ultra-cool sounding lines and patterns by substituting simple diminished and auomented patterns over dominant 7th chord!.NIHE MUSI PE0/PIXKIIf/W' DE/JIANES Mfi/. licks and patterns.rllJ[llltli! t "+gF* ¤ 2 <a "¤" r. 4 i a mF . lines. lr Guitor Secrets-Melodk Revealed SSB) Minor (0l -HormonicMinorReveoleA Guitor Secrets pOS ig) . A rl r nternational Music publications Limited Griffin House.a.161Hammersmitf. legendaryguitaristand educa_ tor Don Mock exposes the closely guarded "secret" soloing techniques of jizz and rock giants. this book/CD package approachesthe potentially com_ plex topics of soloing and scale substitution from a player's perspective. Containing over 70 music examples. o r d a3 3 0 .a: . f_onam Wi.no.4RNEB A Warner lvlUsic GroupCompanv '15800 N W 4 8 f l ^ v e n u e \ . 4 .PUBLTCATIONS YV. 9 s -66.K REY IIIIORE OTTHEtrl[S SEC REIS moc In this book.ffifi|ru sr 9 .