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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
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Jazz & More Guitar Lessons: The Whole Tone Scale

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Jazz Advanced,
The Whole Tone Scale Part 1.
Hey, it's time for a really useful lesson
on a scale called a Whole Tone Scale.
And I already made one lesson on this
subject within the Gypsy Jazz blog, but
that was more made for
players of that style.
Here's a more kind of jazz or, or
music in general kind of lesson,
how you can use the whole tone scale.
And as the name says,
it's actually just whole tone intervals.
If we start on G.
G, A, B.
Whole tone intervals.
And there are so
many ways of fingering this scale.
I, I can just show you how
you can work it up this way.
Then an, another whole tone step.
G, B, A, B.
C sharp,
D sharp, F, G,
A, and then B.
You continue up.
C sharp.
D sharp.
You can play F on here, on,
the second string, G, A.
Like that.
Only two notes here on the.
Going all the way,
way up to E flat or if you wanna,
you can finger it a bit differently.
You can do, like this, you can do it three
notes on this string if you'd like and
then go, go from F to G here.
slide up to G and that gives us like one,
two, three octaves.
There's so many ways of.
Playing this scale.
The best thing is
to just learn the intervals and
hearing the intervals, and
then you can move it around as you like.
And you can create many interesting,
like small blocks, for instance
the augmented one G, B, and E flat root.
Major 3rd and sharp 5.
then you can move that
little block around.
Looks the same.
Same kind of fingering on,
on 5, 4 and 3rd string as well.
Like that Stevie Wonder song,
You are the Sunshine of my Life.
It starts with, with this kind of.
Block movement.
On the,
these three strings it's
looking like this G,.
D sharp.
Or E flat.
Depending on what you wanna call it.
And it looks like this up here.
You can find other kinds of
blocks from the whole tone scale.
This one is a nice one too.
G, E flat D sharp and C sharp.
I like that one too.
And you can this, this is a nice one
too if we start from, from G, G.
G, F, and B.
And these can be.
You can move, move them around.
Just as you like.
And you can do full
augmented arpeggios if you'd like.
From G.
For instance, G, B D sharp,
G, B, D sharp, G.
That's a cool one.
That one can also be moved around.
So let me play a little
bit along with the,
a Mixolydian backing track, and,
we can use, the whole tone scale.
Remember that the whole tone scale
can be used, either when it says G7,
G9, and when it says, G, 7 sharp 5.
Or G7 flat 5 or sharp 11.
Not when it says sharp, or flat 9, 'cause
this is not part of the whole tone scale.
It needs to be natural 9 and
not a sharp 9 either.
I mean flat, flat.
Not, not a flat 9 A flat and
not a sharp 9 B flat.
But otherwise, you can have a,
a flat 5 or a sharp 5.
So I'm gonna play along with
the Mixolydian backing track now and
I'm gonna use the whole tone scale
using some of these devices so
you can hear what it sounds like.
All right.
Play along with the Mixolydian backing
track using the whole tone scale and
these small possible shapes that
are really useful to move around as well.
I did some chromatics in there,
but not much.
I was mainly staying within
the whole tone scale.
Jazz Advanced,
The Whole Tone Scale Part 2.
Django Reinhardt was actually
one of the first jazz players to
introduce the whole tone scale into
his music with a lot of these.
Kind of static chords moving around.
He got it from classical music,
from the impressionistic composers
such as Ravel and Debussy.
They were using a lot
of these harmonies and
voicings based on the whole tone scale,
within their, their music in compositions.
Then some of the more modern jazz players,
Coltrane, Michael Brecker, many more,
they started using the whole tone scale
over different chord types than dominants.
For instance,
if we have a D minor 7th chord.
[SOUND] You can actually use the whole
tone scale and you can think like,
half a step down from C sharp.
So the notes will be C sharp,
that's a major 7th,
that's the flat 9.
Instead of the root, the minor 3rd, F.
So C sharp, D sharp or if you wanna
call it E flat, F, G, A, the 5th.
B, the 6th, natural 6th and then C sharp.
you can play three notes per string,
it's pretty cool.
If I'm playing in such a pattern going up,
so you can choose if you wanna do two,
two notes on, on the third string.
Or three and go further up.
You'll get a little bit
further up if you do.
If you do three notes here.
But the important thing is to hear and
knowing these intervals,
then you can play it all over the neck.
And just as I taught you the previous
lesson, some of these blocks
are, are really, really useful.
You can move them around and
create interesting sounds.
This is a cool pattern too.
For instance F.
E flat or
D sharp, A, and,
C sharp.
So let met play a little bit over
the D Dorian backing track, and
I'm gonna use the C sharp whole tone
scale starting from the major 7th.
So let's have a listen.