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Jazz & More Guitar Lessons: Diminished Scales

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Jazz Advanced, Diminished Scales Part 1.
Now, it's time for something interesting.
The diminished dominant
the diminished scale people
sometimes associate the diminished
scale with the diminished chord and
If you have a diminished chord like this.
A G diminished.
The arpeggio will be like G, B flat.
D flat.
G, and then back.
It's symmetrical, you know the fingering.
Looks the same you see.
It's, it's based on minor third intervals.
it goes like that all the way,
minor third intervals.
So, for
guitarist the fingering would be the same.
You see like this, minor third intervals.
You just have to change strings and
knowing where to start.
So, G, B flat, D flat, and E.
And, if you would start playing a scale
from G over this chord,
over the diminished chord.
The easiest thing would be
to play a diminished scale,
it's called a whole step, half step.
So, every second interval
would be a whole step, and
every single every second
interval would be a half step.
So, starting on G,
start with a whole step, G, A.
Half step.
E flat.
Whole step, C.
Half step.
Call it D flat.
Whole step call it like, E flat.
It's a half step,
then a whole step going to G flat,
and then G, A, and
then half step to B flat.
So, the scale you can use
is called over this chord,
over the B flat diminished,
over the G flat diminished,
over the D flat diminished,
E flat diminished.
It's the same as,
the same scale, it looks the same
every third, minor third position.
So, if you learn it in one position here,
you can just move it the three steps up,
three steps up, three steps up.
And, you would cover the whole neck.
It's a symmetrical scale.
So, it starts,
it starts from G with a whole step.
G, A.
Then, B flat, then a whole step to C.
Half a step to D flat.
Whole step to E flat, or D sharp,
or what you're gonna call it.
Half step to E.
Whole step to G flat,
or F sharp and then G.
So, there we go.
So, there we go.
You take it one more time.
As you can hear this note,
this scale has one, two, three, four,
five, six, seven, eight, nine notes.
can just continue and
move it up three steps.
Like that but if you have a dominant chord
instead of a diminished chord, if you for
instance have a G dominant chord, a G7.
You can also use the diminish scale.
But then, use a different diminish scale,
or it's the same in a way,
but it starts with a half
step instead of a whole step.
And, you have a dominant chord,
so you play G,
A flat,
that's half a step,
then a whole step to B flat.
Half step to B, whole step to yeah,
you can call it C sharp.
And then, a whole step,
half step to D, whole step up to E,
half step to F and then G, so.
And, you can continue up.
And, this scale can be used,
cause if you analyze it,
we got the root, we got the flat 9.
We have the sharp 9.
The 3rd.
The sharp 4.
Or flat 5, sharp because we have the 5 so
we call it sharp 4.
And, we have the 5th.
We have the 6th.
And, the dominant 7.
Or, or minor 7.
So, what we got there.
Is a scale that works on every
dominant chord where you have like,
just a plain dominant, G7.
Maybe, you have the G7 flat 9.
It works.
It works over a G7 sharp 9 too,
if you have a sharp 9.
That's kind of important.
Works over that.
It works over G13.
It works.
So, with G13 flat 9
Which works with G13 sharp 9.
So, it doesn't work
if you have a dominant
chord with a this note.
A sharp 5, 'cause that's not in the scale.
It has to be in this one.
The 6th or the regular 5th.
within this scale there's so
many nice things you can do.
There's so many triads.
You know, you have the G, G triad,
you have the B flat ti, triad.
You have the D flat triad,
and the E, E triad.
This sca, this scale is also symmetrical,
you can move it three steps up,
going in minor thirds.
So, you have this.
Also in minor, G minor, B flat minor,
D flat minor, and E flat minor.
And then,
you can start like, trying to find your
way going the shortest possible way.
You can go G triad,
instead of moving up to B flat like this,
you can take one of the other triads.
For instance, E, E triad.
And, start on the 3rd,
and then it's like this.
That's a G sharp, and
then you have the B, and
then you have the E, so.
Then, up to B flat.
Then, up to B flat.
And, back to G, try starting on the B.
So, we have a nice sequence here going.
Continuing up.
maybe find some of these
nice minor triads like this.
You have B
flat minor.
That's starting on F.
going into.
The E minor.
Starting on.
The 5th, the B.
Here you have the B
flat minor again.
And, here you have E minor, B flat minor.
That's a nice sequence too.
And, you could go just between G major and
D flat major.
You could go.
Jazz Advanced, Diminished Scales Part 2.
So let's go back down the same thing,
going between the, the G and
the D flat major triads
like try some substitution.
I definitely like this.
That's very nice.
You can also create like, a new scale.
You just take two of these these triads
and make a scale out of them together.
You, you start with one note, from the G
triad, the next one comes from the.
D flat going the shortest way.
That would be G then A flat.
The next one would be B from the G triad.
The next one would be D flat from
the D flat triad, D from the G triad.
F from the D flat triad,
and G back.
So, it's kind of a.
Interesting sounding, isn't it?
And I'm still just using
the notes from the dominant scale,
which is symmetrical,
with diminished dominant.
A good exercise is to play a this
scale using fourth fourth notes,
fourth note intervals.
So if you're starting on, for
instance D flat, going down to.
A flat, B flat, F.
Then G and D, E, and B, so.
D flat and A flat, B flat and F.
G, and D, E and B, D flat and
A flat, and B flat and F.
That will be.
Or maybe.
It's very nice.
Easy, start moving it around.
It's a nice exercise.
So I'm gonna improvise now over
this backing track, with a G.
Symmetrical diminished dominant scale,
and the chord will be like, a G13.
Flat 9 in the background.
All right.
Let's go.
Starting with some triads, E.
B flat.