New Diminished Stuffs: Chordal Fragments and Intervals

Here are two chordal fragments that can be moved through the symmetrical diminished scale for some very tasty results!

In a E half whole diminished scale, starting with the chordal fragment F G D and than moving this chordal fragment through the E diminished scale, over an E7 chord for example.

FGD EFC# DEB C#DA# BC#G# A#BG G#A#F GG#E

This fragment can be altered from F G D to F G E and than moved through the diminished scale.

FGE EFD DEC# C#DB BC#A# A#BG# G#A#G GG#F

Another thing to look at with the diminished scale is moving certain intervals through it

For example moving sevenths through the diminished scale. This example will use the E half whole diminished scale over E7

FE ED DC# C#B BA# A#G# G#G GF

These same notes can be intverted to half steps

This idea can also work with alternating major thirds and perfect fourths, perfect fifths and minor sixths

Minor thirds, tri-tones and major sixths can be used to harmonize the diminished scale and be both diatonic and parallel, any interval that is a multiple of a minor third can function in this way

 

 

 

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Another Diminished Scale Lick

Over A7

D# E C C#

A Bb F# G

repeat

Works great as a symmetrical shape running down the fretboard. Try and make this completley legato (hammer ons and pull offs, no picking). Aside from sounding good and looking impressive it will probably also be a good exercise for legato technique.

Also work on this in reverse, aside from giving you another good diminished scale lick, it will also work wonders for legato

Blues Triad Exercise

Chromatic passing chords can be used with the examples below to connect each pair of chords chromatically

Descending

A7
AC#F# GBD

D7
F#BD EAC

A7
F#AC# EGB C#F#A BEG

D7
BDF# ACE ACE BDF#

A7
BEG C#F#A EGB F#AC#

E7
F#BD G#C#E

D7
ACE BDF#

A7
BEG C#F#A C#F#A BEG

Ascending Version 1#

A7
BEG C#F#A

D7
CEA DF#B

A7
EGB F#AC# GBE AC#F#

D7
BDF# ACE F#BD EAC

A7
F#AC# EGB C#F#A BEG

E7
C#EG# BDF#

D7
BDF# ACE

A7
GBE AC#F# AC#F# GBE

Descending Version 2#

A7
BEG C#F#A

D7
CEA DF#B

A7
EGB F#AC# GBE AC#F#

D7
ACE BDF# BDF# ACE

A7
AC#F# GBE F#AC# EGB

E7
EG#C# DF#A

D7
DF#B CEA

A7
AC#F# GBE or C#F#A BEG

This should be practiced on string groups LowE A D, A D G, D G B and G B HighE

Another variation on this exercise is to play the same notes but instead of using closed voicings as written here, convert them to open voicings, for example A C# F# becomes
A F# C#

Ideas 29/12/2011

Two melodic minor scales a tri-tone apart. C D Eb F G A B + F# G# A B C# D# E# (F). Altogether as a scale: C C# D Eb F F# G G# A B

Different pentatonic scales
Major Pentatonic: 1 2 3 5 6
Minor Pentatonic: 1 b3 4 5 b7

Minor 6th/Melodic Minor Pentatonic: 1 b3 4 5 6
Minor7b5/Half-Diminished Pentatonic: 1 b3 4 b5 b7
Whole-Tone Pentatonic: 1 3 #4 #5 b7
Diminished Pentatonic: 1 #2 3 5 b7 (or my personal favorite 1 #2 3 6 b7)

What I’ve been practicing 28/12/2011

Pentatonic scales and modes in G

A minor pentatonic patters in three note groups, four note groups, five note groups and six note groups

Some work on Lenny Breau harmonics and working on correct fingering patterns

Working on the diminished lick C Bb G C – A G E A – F# E C# F# – Eb Db Bb Eb (this could also be edited to C Bb G Bb or C Bb F# Bb or C Bb F# C) as well as revising the F D A F# – D B F# D# – B Ab Eb C – G# F C A Michael Brecker diminished lick

Quartal harmony in the key of A, three note, four note, and five note voicings, as well as revising some of the diminished scale voicings

Working on Dan Towey’s arrangement of Body and Soul

Looking at The Guitar Artistry of Bill Frisell videos on youtube

As far as transcribing goes, I’ve been working still on John Scofields solo over Stella by Starlight