PRIVATE LESSON

Advanced
Scale Concepts
and Licks
Th e Complete Resourc e fo r Applying
Pentatonic , Harmonic Minor , Melodi c Minor ,
Whol e Tone , and Diminished Scale s
by Jean Marc Belkadi

ISB N 0-7935-1200- 7

HAL-LEONARD -
C O R P O R A T I O N
777 7 W . BLUEMOUN D RD . P.O.BO X 1381 9 MILWAUKEE , W l 5321 3

Copyright © 199 9 by HA L LEONAR D CORPORATIO N

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P ageC
TabIe of C ontents D T rack

4 About this book

4 About the audio
5 The Pentatonic S cale
5 Major and Minor P entatonic S cales 1-4
6 The Dominant P entatonic S cale 5-8
7 Altered P entatonic S cales 9-14
10 The Major Lydian P entatonic S cale 15-18
11 The Minor Lydian P entatonic S cale 19-23
13 The Harmonic Minor S cale
13 C ons tructio n of the Harmonic Minor Modes
14 F irs t Mode—Harmonic Minor 24-25
14 S econ d Mode—Locrian 6 26-27
15 T hir d Mode—Ionian #5 28-29
15 F ourt h Mode—Dorian 14 3 0 -31
16 F ift h Mode—P hrygian 3 32-33
16 S ixth Mode—Lydian #2 34-35
17 S eventh Mode—Altered bb 7 36-38
18 Additional Ideas for Harmonic Minor 39-45
20 The Melodic Minor S cale
20 C ons truction of the Melodic Minor Modes
21 F irst Mode—Melodic Minor 46-47
22 S econd Mode—Dorian 2 48-49
22 T hird Mode—Lydian Augmented 50-51
23 F ourth Mode—Lydian 7 52-53
24 F ifth Mode—Mixolydian 13 54-55
24 S ixth Mode—Locrian 12 56-57
25 S eventh Mode—Altere d (S uper Locrian) 58-60
26 The Whole Tone S cale
26 The Whole Tone S cale in a Tonal C ontext 61-6 8
28 T h e Whole Tone S cale in a Modal C ontex t 69-76
31 Additional Whole Tone Ideas 77-84
34 The Diminis hed S cale
35 T h e Diminis hed S cale in a Tonal C ontext 8 5 -91
37 Diminis hed Arpeggios and P olytonalities 92-95
39 Diminis hed V ariations in a Modal C ontext 96-99
41 Acknowledgments
42 About the Author
43 G uitar Notation L egend
About this Book
his book shoul d b e a sourc e o f inspiratio n an d information , helpin g yo u to incorporat e al l

T the following scale s an d mode s into the moder n musi c o f today . Th e example s in the book
do no t follo w a specifi c orde r o f difficulty ; yo u ca n jum p i n anywher e an d work with the
licks yo u lik e best .
Th e guita r technique s an d sound s ar e varie d throughout the book . I encourag e yo u to begi n
playing thes e example s slowl y to work o n the articulatio n an d phrasin g o f the lines . I t i s impor-
tant to sin g ever y line yo u ar e playing—firs t slowl y an d the n faster . Yo u will develo p a grea t ea r
this way .
Selec t you r favorit e example s an d pla y the m ove r differen t chor d progressions , differen t
rhythm sections , an d differen t guita r sound s in orde r to achiev e multiple feel s for eac h idea . T o
help yo u remembe r you r favorit e lines , pla y the m a s muc h a s yo u can . Anothe r simpl e trick is to
kee p the m i n a noteboo k with you r comment s or to tap e the m o n a recorder .
Finally , alway s kee p you r inspiratio n aliv e by trying to creat e you r own lines .

About the Audio

Throughou t this book , the number s in the audi o symbol s ( ) indicat e the C D trac k numbe r
where eac h exampl e will b e foun d o n the accompanyin g CD .
Eac h exampl e is playe d a t full tempo , an d mos t ar e repeate d a t hal f speed . I n addition , shor t
introductory phrase s (whic h ar e no t transcribe d i n the examples ) ar e sometime s include d to pro-
vide a bette r sens e o f contex t an d to maintai n a n improvisationa l feel .
Th e Pentatonic Scale
ny scal e havin g fiv e note s within a n octav e i s calle d a pentatonic scale. Th e numbe r o f

A pentatonic scale s i s unlimited , thoug h major an d minor pentatonic scale s ar e the mos t
popular in Wester n music . Despit e their popularity , thes e scale s ar e no t alway s eas y to rec -
ognize—especiall y i n jazz .
In improvisatio n o r composition , the y ca n creat e nic e melodies , o r ad d dissonanc e an d an -
gular sound s to a song . Throug h differen t style s of musi c suc h a s jazz , rock , fusion , an d others ,
this sectio n explore s the variou s sound s an d possibilitie s o f fiv e o f the mos t popula r pentatoni c
scales : majo r an d mino r (whic h ar e the sam e scal e beginnin g a t differen t points) , dominant , al -
tered, majo r Lydian , an d mino r Lydian .

MAJO R AN D MINO R PENTATONI C SCALE S

The majo r an d mino r pentatoni c scale s ar e closel y relate d in exactl y the sam e wa y tha t majo r
and mino r scale s are—the y ar e the sam e scal e startin g in differen t places .

Becaus e o f this similarity , thes e two scale s ar e interchangeable : a mino r pentatoni c scal e
may be substitute d fo r a majo r pentatoni c scal e a mino r 3r d up , an d a majo r pentatoni c scal e
may be substitute d for a mino r pentatoni c scal e a mino r 3r d down.

Pentatonics Using Fourths

Ove r a C minor groove , here' s a n exampl e usin g the C minor pentatonic / majo r pentatoni c
scal e in fourth intervals .

Here' s a D mino r pentatoni c ide a with continuou s fourth movement . Yo u ca n se e how cre -
ative thes e ca n be (try to pla y ove r differen t chord s lik e C minor or 11) . Thi s one' s playe d ove r
a D minor groove .
Minor and Major Pentatonic with Chromaticism
Fig. 3 use s a group of three notes in fourths to move downwar d chromatically , resolvin g to B
minor pentatonic/ D majo r pentatonic .

Fig . 4 ha s man y chromati c notes added . Notic e tha t ever y downbea t ha s a diatonic note from
A minor pentatonic/C majo r pentatonic .

TH E DOMINANT PENTATONIC SCALE

The dominant pentatonic scale is essentiall y a majo r pentatonic scal e with a b7th instea d of
a 6th (1-2-3-5 - 7) .

Her e is a phras e tha t use s the D dominan t pentatoni c scal e ove r a D 7 groove .

Ove r E7 , yo u ca n pla y dominan t pentatonic . Thes e notes belon g to the E Lydia n 7 scale ,
which i s the fourth mod e o f the B melodi c mino r scal e (fo r more on this scale , se e par t 2 o f this
book).
Dominant Pentatonic with Chromaticism
Fig . 7 , playe d ove r F#7 , use s a n F # dominan t pentatoni c scal e with strin g skippin g an d tap -
ping. G i s the additiona l chromati c note .

The nex t figure use s strin g skippin g with a n E dominan t pentatoni c scale . B an d D ar e the
additional chromati c note s here .

ALTERED PENTATONI C SCALES

Whe n yo u alte r the note s o f a mino r pentatoni c scale , yo u obtai n th e altered pentatonic
scales . Th e mos t commo n one take s the minor pentatoni c scal e an d lower s the 7t h down to the
6th.
 Let's try this scal e ove r a progression , bu t yo u ca n try this shap e ove r differen t
chords . B e sur e to fin d the mos t comfortabl e fingerin g for yourself .

TH E MAJOR LYDIAN PENTATONIC SCALE

Th e major Lydian pentatonic scal e i s a majo r sevent h arpeggi o with the addition o f the #4t h
(from the Lydia n scale) .

Th e firs t exampl e use s A majo r Lydia n pentatoni c (the notes belon g to a n E majo r scale ) ove r
a B13/F # chord .

Thi s lin e use s the B majo r Lydia n pentatoni c scal e (fro m the F # majo r scale ) ove r a C # 13
chord. Notic e the two double stop s a t the en d with the adde d 9t h (C#) .

10
Major Lydian Pentatonic with Chromaticism
The following figure use s A majo r Lydia n pentatoni c with a chromati c note ( G ) .

This time we us e E majo r Lydia n pentatoni c with the chromati c notes C an d C # ove r Gm6/A .

TH E MINO R LYDIA N PENTATONI C SCALE

The minor Lydia n pentatoni c scal e is a minor-majo r sevent h arpeggi o with the addition of the
#4th (fro m the Lydia n scale) . Thi s scal e fits perfectl y with Dorian , harmonic , melodic , or natura l
minor.

Our firs t minor Lydia n pentatoni c exampl e is in B b ove r the progressio n m - m(maj7 ) an d
use s strin g skipping .

The nex t phrase , playe d ove r a Cm-Cm(maj7 ) progression , i s a peda l tone patter n usin g
string skipping . Thi s is a n excellen t exercis e for you r technique .
 Ove r a n Em(maj7 ) chord , here' s a patter n in thre e octave s tha t use s two an d three notes per
string.

Minor Lydian Pentatonic with Chromaticism

Ove r a B m(maj7 ) fun k groove , here' s a B mino r Lydia n pentatoni c line usin g three note s
per strin g with G a s a chromati c note .

Fig . 2 3 play s a melod y with octave s to creat e a nic e effect . Thi s phras e use s E minor Lydia n
pentatonic ove r a n Em(maj7 ) chor d with B an d G powe r chord s (whic h don' t belon g to the E
minor Lydia n pentatoni c scale) .

12
The Harmonic Minor Scale
n
he harmonic minor scal e ha s a distinctive , identifiabl e sound . I t ca n b e hear d i n Lati ,

T music , Asia n music , jaz z (bebop) , an d in roc k sinc e the eighties . I n tona l an d moda l music
triads an d arpeggio s fro m this scal e ca n b e develope d an d mixe d with chromaticism .
Thi s sectio n wil l hel p yo u lear n th e harmoni c mino r scal e through th e us e o f its seve . By
n

modes . Yo u wil l b e playin g ove r chor d change s tha t characteriz e the soun d o f eac h mode ,
playing differen t interval s an d triad s ove r variou s musica l style s (includin g Tango , Salsa , Sambana
Mambo, Calypso , Boss a Nova , Chacha , Reggae , Techno , Hous e music , an d jazz) , yo u will gai r sta -
comprehensiv e understandin g of the harmoni c mino r modes . Th e example s ar e playe d ove
tic chord s or, i n som e cases , chor d progressions .

CONSTRUCTIO N OF THE HARMONI C MINOR MODES

Belo w is the C harmoni c mino r scale . I t ca n be thought of a s a C mino r scal e with a majo r
sevent h (B ) instea d o f a mino r sevent h ( B ) .

The following table illustrate s the mode s of the C harmoni c mino r scale , alon g with thei r as -
sociate d sevent h chord s an d uppe r extensions .

13
 In summary , eac h note of the harmoni c minor scal e ca n be harmonize d an d serv e a s the basi s
for its own uniqu e mode with its own uniqu e sound .

FIRST MODE—HARMONI C MINOR

Thi s exampl e demonstrate s tha t a scal e motif repeate d i n thre e octave s ca n creat e a nic e
melodic effect .

Harmonic Minor with Chromaticism

Thi s line add s a chromati c note (F ) ove r a Gm(maj7 ) chord .

SECON D MODE—LOCRIAN 6
Thi s exampl e is ove r the chor d progressio n D m ( # 11)/D , whic h implie s the C harmonic
minor scale . There is a lo t o f intervalli c movemen t through the us e o f strin g skipping .

14
Locrian 6 with Chromaticism
Here the chor d progression is F m maj7#11/ F with the chromati c notes E an d A .

THIRD MODE—IONIAN #5
For this third degre e of the scale , the chords are . Don' t forget that
for certai n phrasin g situations , you ar e not alway s obligate d to pick ever y note. Thi s is the cas e
in this example .

Ionian #5 with Additional Chromaticism

This is a B harmoni c minor scal e with displace d octave s an d a chromati c note (B ) . Thi s
example use s strin g skipping . Tr y an d sin g the intervals .

FOURT H MODE—DORIAN #4
The chor d progressio n in Fig . 3 0 is . Em7-F#/E . Although this is a n idiomatic scal e pattern,
pay attention to your fingering.

15
 Fig . 3 1 ha s a Bm7-Ci/ B progression , whic h implie s F # harmoni c minor . Th e s ar e chro -
matic notes .

FIFTH MODE—PHRYGIAN
Thi s mod e i s commonl y use d i n roc k styles . Thi s figur e uses sixteenth note triplets ove r

Phrygian 3 with Chromaticism

Thi s one is a Bm(maj7 ) arpeggi o with strin g skippin g ove r a C# m progression.
Th e A an d F ar e chromati c notes .

SIXTH MODE—LYDIA N # 2
For this Tang o feel , the chor d progressio n is

16
 Lydian i 2 with Chromaticism
Fig . 3 5 use s the sixt h mod e o f the B harmoni c mino r scal e with chromati c note s ( F an d A )
over a Gmaj7-G ° progression .

SEVENTH MODE—ALTERE D
Fig . 3 6 use s the sevent h mod e o f C harmoni c mino r ove r a B ° chord . Th e exampl e use s a
Cm(maj7J shape —watch out for the string skipping at the resolution of the phrase!

Altered bb7withChromaticism
Fig . 3 7 use s the sevent h mode of F harmoni c minor ove r a n E ° chor d with the chromati c note A .

We hav e a ver y exoti c soun d i n this example , usin g the chromati c note s F# , A , E , an d B ,
which ad d a nic e colo r to the scale . Thi s make s the F harmoni c minor scal e soun d clos e to a syn -
thetic scale .

17
 ADDITIONA L IDEAS FOR HARMONI C MINOR
Ove r A thi s exampl e use s the harmoni c minor (middl e easter n sounding ) scal e with chro -
maticis m fro m abov e an d beneat h the chor d tone s of the A triad .

Her e we hav e a n F harmoni c minor scale , whic h make s C 7 (th e chor d on this track ) the fifth
degree , with E an d G a s chromati c notes . Notic e ho w the exampl e outline s a G 7 arpeggio ,
which doesn' t belon g to F harmoni c minor , bu t i s a tritone substitut e for C7 .

Sometime s you r ea r bring s yo u into unknow n territory wher e yo u pla y things yo u normall y
would not. Tha t is the magi c o f musi c an d the rewar d for you r time spen t studying . Don' t alway s
be too analytica l an d try to enjo y the musi c whe n this "mystery " o f musi c produce s intriguing
sounds . Thi s exampl e i s a n intervalli c G harmoni c mino r patter n ove r a C6/9-C7sus 4 progres -
sion . Don' t as k why—jus t ope n you r ears , pla y it, an d sin g it.

Ove r C6/9-C7sus4 , this exampl e show s G harmoni c mino r movin g in contrar y motion. W e
star t with a 5 interva l (C-F#) , the n the E goe s down an d the F # ascends , both usin g the G har -
monic mino r scale . Pa y attention to the strin g skipping .

18
 Ove r a D regga e feel , her e we us e B harmoni c minor . Th e A i s a chromati c note .

Fig . 4 4 use s a sliding , firs t finge r B harmoni c minor pattern on the high E strin g ove r a n ope n
B techn o groove .

Fig . 4 5 use s a n F harmoni c minor scal e ove r a n ope n F "house " groove . Thi s line ca n be dou-
bled a n octav e abov e usin g a n octave r peda l for a nic e effect .

19
 Th e Melodic Minor Scale

T
he melodi c minor scal e an d its mode s ar e commonl y use d in jaz z (bebop , free-jazz , an d fu -
sion ) a s wel l a s pop an d othe r contemporar y styles—the y ar e frequentl y heard , for exam -
ple, on typica l "sp y movie " soundtracks . Thes e scale s ma y als o serv e a s compositiona l an d
improvisationa l tools fo r the investigativ e musician .
Thi s sectio n demonstrate s eac h o f the melodi c mino r mode s through a serie s of musica l ex -
ample s usin g a variet y of rhythmic backgrounds . Eac h sub-sectio n begin s with diatoni c example s
followed b y example s with adde d chromati c notes .

Th e rhythm sectio n i n the following example s will cove r a variet y of musica l style s includin g
traditional jazz , contemporar y jazz , fusion , funk , R&B , an d rock .

CONSTRUCTION OF THE MELODIC MINOR MODES

Belo w i s the C melodi c mino r scale . I t ca n b e thought o f a s a C majo r scal e with a minor
third ( E ) instea d o f a majo r third (E) ; a C Doria n mod e with a majo r sevent h (B ) instea d o f a
minor sevent h ( B ) ; o r a C natura l mino r scal e with a majo r sixt h (A ) an d majo r sevent h (B) .

Th e following tabl e illustrates the mode s o f the C melodic mino r scale , alon g with their as -
sociated sevent h chords and uppe r extensions .

20
 In summary , eac h note of the melodi c minor scal e ca n be harmonize d an d serv e a s the basi s
for its own uniqu e mode with its own uniqu e sound .

FIRST MODE—MELODIC MINOR

The firs t exampl e use s A melodi c minor . Notic e the superimpositio n o f arpeggios , startin g
with a n E majo r tria d followe d by Am(maj7) , C+ , Am , an d finall y a D majo r (to D7 ) arpeggio . Al l
of thes e chord s ar e draw n fro m the A melodi c mino r scale .

Melodic Minor with Chromaticism

The nex t exampl e use s E melodi c mino r with two additiona l chromati c tone s ( C an d B ) .
The techniqu e her e is mainl y hammer s an d pulls , with two notes achieve d via right-han d tapping.

21
 SECOND MODE—DORIAN 2
Thi s i s simila r to the Phrygia n soun d du e to the flatte d secon d step . However , i t i s actuall y
the secon d mod e o f the G melodi c mino r scal e ( A Doria n 2) . I t wa s commonl y use d b y Joh n
McLaughli n durin g the Mahavishn u period .

Dorian with Chromaticism

Th e additio n o f eve n jus t one chromati c note ca n give a ver y interestin g soun d to you r lines .
Chec k ou t this one in the D Doria n mod e with a n adde d chromati c G# .

THIRD MODE—LYDIAN AUGMENTE D

Thi s is a n unusua l groov e to pla y with a maj7# 5 chor d (Lydia n augmented) . Th e sourc e ke y
is G # melodi c minor ; its third mode is B Lydia n augmented .

Lydian Augmented with Chromaticism

Fig . 5 1 use s the Lydia n augmente d mode of D melodic minor. Her e we se e F Lydia n aug -
mented ove r a chord , with a n additiona l chromati c note. (Note : anothe r nam e for
is F13#11. )

22
FOURTH MODE—LYDIA N 7
This is a ver y commonl y use d mode . It s distinctiv e #11t h tone give s a uniqu e characte r to
the lines . Fo r this example , notic e the two paralle l string-skippin g shape s a t the beginnin g of the
line. Fin d the fingerin g tha t i s mos t comfortabl e for you .

Lydian 7 with Chromaticism

This one use s G Lydia n 7 . Th e additiona l chromati c tone s ar e C , , an d

23
 FIFTH MODE—MIXOLYDIA N 13
Thi s interestin g mode is a cros s betwee n harmoni c mino r an d the Phrygia n mode . It s char -
acte r i s brough t ou t by the natura l 9t h an d 13t h scal e tones . Fig . 5 4 begin s with a B 7 arpeg -
gio followed by a n A 7 an d Dm 7 5 in descendin g fourth intervals , then finishe s with anothe r B 7
arpeggio . Th e sourc e ke y is melodi c minor .

Mixolydian 13 with Chromaticism

Her e we hav e the G Mixolydia n 1 3 mod e with adde d chromatic s C # an d , in sixteenth -
note triplets .

SIXTH MODE—LOCRIAN #2
Th e sourc e ke y is G melodi c minor ( E Locria n #2 ) for the following example . Thi s line is more
angula r an d intervalli c tha n the previou s ones . I t use s strin g skippin g an d alternat e picking .

24
 Fig . 5 7 use s the E Locria n # 2 mode (fro m G melodi c minor ) playe d ove r a C7#11/ E chord ,
but with a n adde d chromati c D tone .

SEVENTH MODE—ALTERED (SUPER LOCRIAN)

Thi s line use s the E altere d mode (fro m F melodi c minor ) with legat o hammer-ons , pull-offs ,
and right-han d tapping.

Her e we se e a m(add9 ) arpeggi o in two octaves , followe d by a majo r tria d whic h wrap s
it up. Th e mode is C altered .

Altered (SuperLocrian)withChromaticism
Thi s chromati c ide a ove r C altere d ha s al l the notes of a chromati c scal e excep t the (majo r
7th). Thi s exampl e als o demonstrate s how the sam e lin e ca n hav e a differen t effec t whe n i t is
starte d o n a differen t par t o f the measure . Th e firs t time , the line start s o n the third bea t o f the
measure , a s written. Then , the secon d time , i t is playe d beginnin g on the firs t bea t of the mea -
sure . Experimen t with this an d othe r phrase s o f you r own, b y placin g the m o n differen t part s o f
the measur e lik e this . You'l l se e it ca n be a ver y interestin g approach . Goo d luck !

25
The Whole Tone Scale
he whole tone scale i s a uniqu e scal e buil t exclusivel y fro m whole steps . Because o f the

T symmetr y of this scale , the C whole tone scal e = the D whole tone scal e = the E whole tone
scal e (an d s o on , al l the wa y u p through the scale) .

Th e whole tone scal e ha s only si x note s an d two triads . Becaus e of the symmetr y of the aug -
mented triad , thes e two triad s repea t themselve s on ever y third: C + = E + = G# ; D + = F# + = A#+ .

In tona l an d moda l music , i t is interestin g to se e how this scal e is playe d no t only ove r aug -
mented chord s o r altere d chords , bu t als o ove r minor , major , Lydian , Lydia n augmented , an d
dominant chords , a s wel l a s man y other chord s an d progressions .

Th e whole tone scal e is frequentl y use d i n moder n music , an d it is commo n to hea r it mixe d
up with othe r scale s an d chromaticism . Becaus e o f this tendenc y to mix it with other sounds , the
whole tone scal e is no t alway s obvious . Today , this scal e ca n b e ver y effectiv e in a compositio n
or improvisatio n an d is a n importan t tool to master .

Thi s sectio n will brin g yo u ne w idea s an d a startin g point to hel p yo u creat e you r own lines .
Enjoy !

TH E WHOLE TON E SCALE IN A TONAL CONTEXT

Over iim7-V7-l
Her e we hav e a iim7-V7- l progressio n in C usin g sixteent h notes . Notic e the chromati c pass -
ing tone s ove r the iim 7 chord . Th e G whole tone scal e i s use d ove r the secon d hal f o f the V 7
chord.
 Fig . 62 , playe d ove r a Bm7-E7-Amaj 7 progression , use s the whole tone scal e with addi -
tional chromaticis m ove r the E7 . Notic e the whole tone strin g skippin g patter n movin g i n paral -
lel descendin g step s befor e resolvin g to the I chord .

Over iim 5-V7-I

Her e we hav e a ii m 5-V+7- Ì progressio n tha t use s the whole tone scal e i n displace d oc -
taves by employin g the strin g skippin g techniqu e ove r the A 7 chord .

Fig . 64 , ove r Cm 7 m7 , ha s a wild augmente d arpeggi o during the F+ 7 chor d with

a chromati c note befor e the resolution .

Ove r F m , her e we hav e the whole tone patter n movin g by descendin g majo r
thirds ove r the V chord .

27
 Thi s exampl e ha s chromati c approache s ove r the chor d tone s o f the ii m , the n employ s
the chromati c scale , an d finall y use s a whole tone patter n movin g in descendin g majo r thirds .

Over II7-V7-I
Thi s exampl e show s a n augmente d arpeggi o ove r the II 7 chor d (G7 ) whic h move s down by a
half ste p ove r the V 7 (C7 ) usin g the sam e shap e o n the fretboard .

Thi s time we hav e a lot of chromaticism . Tr y to fee l the directio n of the line s an d chec k where
the fe w whole step s ar e placed .

THE WHOLE TONE SCALE IN A MODAL CONTEX T

Over a Minor Seventh Chord

Her e we hav e a C m 11 groov e usin g a whole tone patter n with strin g skippin g tha t move s up
step-wis e befor e resolving .

28
 The E whole tone scal e patter n i s playe d o n the beginnin g of this Am 7 vamp . W e hav e ad -
ditional chromaticis m in this example . Pla y E + ove r A m to creat e interestin g line s ove r a ii- V pro -
gression .

Over a Dominant Seventh Chord

Here we hav e a whole tone patter n with a tritone an d majo r third interval s movin g by step s
over a G 7 chord .

Ove r B 7 , Fig . 7 2 ha s a whole tone patter n movin g chromaticall y upward s usin g the tapping
technique .

29
 Over a maj7#1 1 (Lydian) Chord
The A-B/ A progressio n in Fig . 7 3 implie s A Lydian . Thi s is a n exampl e of usin g the A whole
tone scal e ove r a n A Lydia n chord . B e awar e of the syncopatio n in this example .

Th e C-D/ C progressio n in Fig . 7 4 implie s C Lydian . Thi s exampl e ha s augmente d triad s with
a chromati c approach .

30
Over a Major Third Cycle
Ove r this famou s progressio n (Bmaj7-D7-Gmaj7 - -Emaj7 ) we us e a whol e tone scale .

Over the same progression as Fig . 75 , we hav e chromaticis m adde d to the whol e tone scale .

ADDITIONA L WHOLE TONE IDEAS

Over F 7 an d E 7 (usin g the F whole tone scale) , Fig . 7 7 use s hammer-on s an d pull-offs with-
the index , middle an d pink y fingers .

The chor d on trac k 78 is Gm 5, whic h is relate d to C Doria n 2, the secon d degre e of the
melodic minor scale . Her e we us e a B whole tone scal e patter n with chromaticis m movin g in
descendin g whole steps .

31
 Ove r the classi c I—VI— ii—V progression , this exampl e use s the whol e tone scal e ove r the
complete progressio n with tritones an d augmente d triad s movin g by ascendin g majo r thirds .

All o f the whole tone example s soun d interestin g whe n they ar e mixe d with som e other scale s
and chromati c notes . Pa y attentio n to you r rhyth m an d phrasing . Her e i s a n exampl e ove r
C6/9 - tha t use s the whol e ton e scal e mixe d with th e melodi c mino r scal e ( F melodi c
minor), the blue s scale , an d chromaticism .

Ove r a n ope n C 5 chord , this exampl e use s three note s pe r strin g with the whole tone scale .

Ove r a n ope n A 5 chord , this exampl e use s a D whole tone scal e patter n with chromaticis m
(like the dominan t sevent h o f A) . I f the rhythm sectio n doesn' t pla y the D chord , i t stil l work s be -
caus e the line s en d on C, the third of A minor .

32
 Ove r a n A vamp , this exampl e use s the whole tone scale' s tritone an d majo r third interval s
to creat e a mysterious , angula r sound .

Fig . 84 , playe d ove r a n ope n C 5 vamp , use s the G whole tone scal e with 7t h intervals . Watc h
the strin g skipping .

33
 The Diminished Scale
he diminishe d scal e is frequentl y hear d i n jaz z an d fusio n music . Althoug h it is les s com -

T mon i n rock , the diminishe d scal e remain s a n importan t tool for improvisatio n an d compo -
sition. I n this section , we will explor e differen t way s to us e this scal e in a variet y of musica l
situations yo u ma y encounter—i n jazz , fusion , an d rock .
The intervalli c structur e o f the diminishe d scal e alternate s betwee n a whole an d hal f ste p
(whole-half ) or betwee n a hal f an d whole ste p (half-whole) . Eac h versio n is a n eight-note-per-oc -
tave symmetrica l scale .

C diminishe d (whole-half )

Becaus e i t i s a symmetrica l scale , the diminishe d scal e ha s fou r possibl e roots . Th e C di -

minishe d scale s abov e coul d als o b e calle d diminished , diminished , an d A diminished .
Becaus e o f this , ther e ar e only three differen t diminishe d scale s in total, jus t lik e the diminishe d
sevent h chord .
T o begin , we will us e the diminishe d scal e (employin g majo r an d minor triads , arpeggios , an d
adde d chromati c notes ) i n line s ove r dominan t 7t h chords . The n we will mov e o n to us e the di -
minishe d scal e ove r other harmonie s suc h a s minor seventh , majo r seventh , majo r sevent h sharp -
eleventh , an d others .

THE DIMINISHE D SCALE IN A TONAL CONTEXT

Over ii-V-l and ii-V-i progressions
Fig . 8 5 ha s a chor d progressio n o f Cm7 - maj7. Ove r the V chor d , the dimin-
ishe d scal e (half-whole ) i s used . Thi s exampl e use s thre e triad s pe r scal e patter n befor e resolv -
ing to maj7 .

34
 Fig . 8 6 use s a n 9-Grn 7 progression . Not e the diminishe d scal e patter n with
wider intervals use d ove r the V chor d 9) .

The Diminished Scale with Chromaticism

Here w e hav e a nprogression . Thi s time chromati c note s ar e adde d
within the diminishe d scal e to creat e differen t colo r tones .

Fig . 8 8 use s a G m -Fm 7 progression . This straigh t ahea d bebo p lin e utilize s the
diminishe d scal e with adde d chromati c note s on the V chor d , resolvin g to Fm7 .

35
 Diminished Triads
Her e we hav e a Cm7-Fm 7 progression . Thi s exampl e use s diminished arpeggio s ove r
Cm7 .

Major Triads
Fig . 9 0 move s majo r thirds symmetricall y by a n interva l o f a mino r third (followin g a dimin-
ishe d scal e pattern ) ove r G7 .

36
Minor Triads
Here we se e n an d F m triad s with a n adde d majo r third, move d in mino r third intervals .

DIMINISHE D ARPEGGIOS AND POLYTONALITIES

Fig . 9 2 place s B diminishe d arpeggio s movin g b y mino r third interval s ove r a C 5 powe r
chord. Thi s exampl e als o incorporate s a swee p pickin g technique .

Here , diminishe d arpeggio s ar e move d u p chromatically , creatin g a sor t o f polytona l sound .

This exampl e incorporate s a two-hande d tappin g technique .

37
 Fig . 9 4 utilize s B 7 an d D 7 arpeggio s ove r E 5 to creat e a bi-tona l sound .

Here w e appl y the diminishe d scale , usin g 6t h interval s connecte d to the note s o f
minor pentatonic .

38
DIMINISHED VARIATION S IN A MODAL CONTEXT
Fig . 9 6 is a scal e patter n descendin g by minor thirds ove r C#° .

Thi s one move s the scal e patter n i n tritone intervals .

39
 Fig. 9 8 employs diminished triads with chromatic passing tones .

This fina l lic k mixe s minor an d majo r triads with dominan t sevent h arpeggios .

40
Acknowledgments
Thank s to:

Kevi n Holme s for editing assistanc e

Stev e Blutche r a t DiMarzi o
Fran k Gambal e an d Mik e Ster n fo r their suppor t an d encouragemen t
Keit h Wyat t a t Musician s Institut e
All a t Ha l Leonar d Corporatio n
HHHrrerns t Homeye r for hi s good advic e
Marc o Biasell a for letting m e us e hi s equipmen t
Alai n La s eube , L e frèr e Gagarin e
Tom Sy p for creatin g m y website , foun d a t http://home.earthlink.net/-mcbl /
Marie-Christin e Belkad i fo r maintain g m y websit e
Olivie r Hermitan t for hi s suppor t an d friendshi p
Pierr e Pichó n fo r his hel p

Specia l Thank s to Bil l Killbourn e an d Maria-Christin e Belkadi . Than k yo u fo r bein g aroun d

me an d for bein g who yo u are .

Mareell o fo r hi s patienc e i n transcribin g thes e thousand s o f notes . Than k yo u fo r bein g s o

dedicated .

Coli n "Doc " Sober s (Th e Compute r Doctor ) for his positiv e energ y an d amazin g work in edit -
ing an d preparin g the musica l example s for this book .

Joh n O w for improving my guitar tone with a n excellen t instrument . Th e Yamah a is jus t great !

Thi s book is dedicate d to "L a Chaudiere, " L e Frig o de Charlton , an d m y al l time bes t friend ,
Alai n LaSeube .
 About the Author

J
ean-Mar c Belkad i starte d playin g guita r a t ag e 14 . H e graduate d fro m the Toulous e Musi c
Conservator y in hi s hometown . I n 1984 , h e lef t Franc e for the U.S . to lear n a t the Music -
ians Institut e of Technolog y in Lo s Angele s wher e he receive d the Bes t Guitaris t of the Yea r
Award .
In 198 9 an d 199 2 h e wa s awarde d third an d secon d priz e a t the Billboar d Son g Contest .
For three year s he wa s musica l directo r of the Johnn y Hun e T V show . H e ha s written severa l gui -
tar metho d book s addressin g jazz , fusion , an d roc k soloist s an d recorde d one sol o album .

42
 Guitar Notation Legend
Guita r Musi c ca n be notate d three differen t ways : on a musical staff, in tablature, an d in rhythm slashes.

RHYTH M SLASHE S ar e written abov e the

staff. Stru m chord s In the rhythm indicated .
Us« the chor d diagram s found a t the top of
(he firs t page of the transcriptio n for the
appropriate chor d voicings . Roun d
noteheads Indicat e singl e notes .

THE MUSICA L STAF F show s pitches an d

rhythms and is divide d by ba r lines into
measures . Pitche s ar e name d afte r the firs t
seve n letters of the alphabet .

TABLATUR E graphicall y represents the

guitar fingerboard . Eac h horizonta l line
represent s a a string , an d eac h numbe r
represent s a fret.

Definitions for Special Guitar Notation

HALF-STE P BEND : Strik e the note an d ben d WHOLE-STE P BEND : Strik e the note an d GRAC E NOT E BEND : Strik e the note an d SUCH T (MICROTONE ) BEND : Strik e the
up 1/2 step . bend up one step . bend up a s Indicated . Th e firs t note doe s note an d ben d up 1/4 step .
not tak e up an y time.

BEN D AN D RELEASE : Strik e th e not e an d PRE-BEND : Ben d the note a s indicated , PRE-BEN D AN D RELEASE : Ben d the note UNISO N BEND : Strik e the two notes
bend up a s indicated , the n releas e bac k to then strik e it. as Indicated . Strik e It an d releas e the ben d simultaneousl y an d ben d the lowe r note up
the origina l note . Onl y the firs t not e Is back to the origina l note. to the pitch of the higher .
struck .

VIBRATO : Th e strin g is vibrate d by rapidl y WID E VIBRATO : Th e pitch is varie d to a HAMMER-ON : Strik e th e firs t (lower ) not e PULL-OFF : Plac e both finger s on the notes
bending an d releasin g the note with the greate r degre e by vibrating with the fretting with on e finger , the n soun d th e highe r not e to be sounded . Strik e the firs t note an d
(retting hand. hand. (on th e sam e string ) wit h anothe r finge r b y without picking , pull the finge r off to soun d
frettin g i t withou t picking . the secon d (lower ) note.

LEGAT O SLIDE : Strik e the firs t note an d SHIF T SLIDE : Sam e a s legat o slide , excep t TRILL : Ver y rapidl y alternat e betwee n the TAPPING : Hamme r ("tap" ) the fre t indicate d
then slid e the sam e fret-han d finger up or the secon d note is struck . notes indicate d by continuousl y hammerin g with the pick-han d inde x or middle finge r
down to the secon d note. Th e secon d note on an d pulling off, and pull off to the note fretted by the fre t
is not struck . hand.

43
NATURA L HARMONIC : Strik e the note while
the left-han d lightly touche s the strin g
directly ove r the (re ! indicated .
PINC H HARMONIC : Th e note is fretted
normally an d a harmoni c is produce d by
adding the edg e o f the thumb or the tip o f
the inde x linge r of the pic k han d to the
norma l pic k attack .
HAR P HARMONIC : Th e not e is frette d normall y PIC K SCRAPE : Th e edg e of the pic k is
and a harmoni c is produce d by gentl y restin g the rubbe d dow n (o r up ) the string , producin g
pic k hand' s inde x finge r directl y abov e the a scratch y sound ,
indicate d fre t (i n parentheses ) whil e the pic k
hand' s thum b or pic k assist s by pluckin g the
appropriat e string .

MUFFLE O STRINGS : A percussiv e soun d i s PAL M MUTING : Th e not e is partiall y mute d RAKE : Dra g the pic k acros s the string s TREMOL O PICKING : Th e not e is picke d as
produce d b y layin g the fre t han d acros s the by the pic k han d lightl y touchin g the indicate d wit h a singl e motion . rapidl y an d continuousl y as possible .
string(s ) without depressing , an d strikin g string(s ) jus t befor e th e bridge .
them with the pic k hand ,

ARPEGGIATE : Pla y th e note s o f the chor d VIBRAT O BA R DIV E AN D RETURN : Th e VIBRAT O BA R SCOOP : Depres s the ba r jus t VIBRAT O BA R DIP : Strik e the not e an d the n
indicate d b y quickl y rollin g the m fro m pitc h of the not e or chor d is droppe d a befor e strikin g the note , the n quickl y immediatel y dro p a specifie d numbe r of
botto m to top . specifie d numbe r of step s (i n rhythm ) the n releas e the bar . steps , the n releas e bac k to the origina l
returne d to the origina l pilch . pitch .

Additiona l Musica l Definition s

Labe l use d to recal l a recurrin g
accompanimen t patter n (usuall y chordal) .

Labe l use d to recal l composed , melodi c

line s (usuall y singl e notes ) whic h recur .

Labe l use d to identif y a brie f melodi c

figur e whic h I s to b e inserte d Int o th e
arrangement .

A chorda l versio n o f a Fill .

Instrumen t i s silen t (drop s out) .

Repea t measure s betwee n signs .

Whe n a repeate d sectio n ha s differen t

endings , pla y th e firs t endin g onl y th e firs t
time an d th e secon d endin g onl y th e
secon d time .
NOTE : Tablatur e number s i n parenthese s mean :
1. Th e not e i s bein g sustaine d ove r a syste m (not e i n standar d notatio n I s tied) , o r
2. Th e not e i s sustained , bu t a ne w articulatio n (suc h a s a hammer-on , pull-off , slid e o r vibrat o begins , o r
3. Th e not e i s a barel y audibl e "ghost * not e (not e i n standar d notatio n I s als o i n parentheses) .

44

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CD Includes 99 F ull-B and Tracks
P entatonic, Harmonic Minor,
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