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Fiddle Lessons: Scales You'll Use: Diminished Arpeggio & Scale

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[MUSIC]
All right,
so here's another crazy scale in our
little scale dictionary here,
the Diminished Arpeggio and scale.
Now Diminished is a very special, it's a
crazy.
Sound, right?
[NOISE] That's the sound of suspense.
[NOISE] What's gonna happen.
They're in the warehouse.
The bad guy's got a gun.
The good guy might have lost his gun in
the warehouse.
They start chasing each other.
[MUSIC]
It's the sound of,
we don't know what's gonna happen.
It's no gravity.
The great thing about the diminished
arpeggio and of course Beethoven was
great at using this because it, you can go
anywhere from the diminished scale.
[MUSIC]
It's very,
you know, there's no, each, note in the
arpeggio.
[MUSIC]
Because
they're all the same exact distance away
from each other, can be a root.
So, even though this is a very complicated
scale, in some ways,
it's also great because there's only three
arpeggios
because out of the 12 keys, each scale has
four roots, right?
So, if you divide 12 by 4, you get 3,
so the G diminished chord.
Has a G root.
[MUSIC]
And also a B-flat root.
[MUSIC]
And also a D-flat root.
[MUSIC]
And also an E root.
[SOUND].
Each one of those.
[MUSIC]
[NOISE] Each of those notes can be the
root of the chord.
Right?
So because this, the violin is tuned the
way it is in fifths
we're always kind of setting back, you
know.
There's like, kind of like a little notch
back.
[NOISE] So we go here, I'm gonna play this
very slowly.
The G diminished arpeggio.
Each is a minor third apart.
Right?
So we go minor third, minor third,
minor third.
[MUSIC]
Okay, how about that A flat diminished,
which also happens to be the B natural
diminished, and
the D diminished, and the F diminished,
right?
So we start with a.
[MUSIC]
And you'll notice that these patterns,
these little finger patterns, these offset
patterns repeat themselves pretty quickly.
It only takes three strings to start
repeating these exact same pattern.
So, once you start getting this, okay we
got one more starting on A diminished.
A, C, E flat, and G flat or F sharp,
depending on.
Whether you're a string player or a horn
player.
Okay.
A.
[MUSIC]
[NOISE] So this is a wonderful very useful
arpeggio for playing over seventh chords,
right?
Because it's very hip.
[MUSIC]
Now what I was playing some other notes in
there.
And so there are two diminished scales.
And when we make diminished scale we take
the arpeggio.
[MUSIC]
And we put th,
one note in between each note of the
arpeggio and there's two ways to do that.
We can put a note.
We could start with that whole step, so we
go.
[MUSIC]
That's
sorta like the Pink Panther diminished
scale, right?
[MUSIC]
Very sneaky, you know but sorta cartoony.
It's very, it's kinda rich, it's a nice
sound, it's easy,
a little easier to hear, than the other
one, the other diminished scale,
now we just played the whole step half
step diminished scale because we play
a whole step and then a half step to the
next note of the arpeggio.
[MUSIC]
Right, whole, whole step, half step,
whole step, half step, whole step, half
step, right?
Okay, the other one is we just reverse it,
we start with a half step.
[MUSIC]
Half step.
[MUSIC]
So, it's all the same.
[MUSIC]
But we're just putting, the,
the collecting note.
Lower, we're, we're playing the connecting
note.
I have to have first and then whole step,
so we go.
[MUSIC]
That's the one, right there.
[MUSIC]
So that has a real different sound.
It's a little hard to hear, at first.
But it has an advantage, in that when
we're
playing that against a seventh chord, for
instance.
If we play a G Seventh.
[MUSIC]
We have some very important notes
that we would want to alter for jazz in a
seventh chord.
We have a flat nine chord, important.
[MUSIC]
Sharp nine is in the chord.
[MUSIC]
And we have the seventh.
[MUSIC]
So
we have, some, so, so there's reasons to
use each diminished scale.
There's two of them, so
that's, it's complicated, but if you just
think, okay, well,
whole step half step, half step whole
step, you'll be able to work on this.
So I would recommend with a scale, if
you're unfamiliar with the sound of the,
of the diminished.
[MUSIC]
Play the arpeggio.
Get used to the arpeggio.
Get it so you can just.
[MUSIC]
Just do it without thinking in one key.
Just go for G.
G is good.
[MUSIC]
Once you get G,
where you can just do it like that and
just really hear it.
[MUSIC]
Try all those kinda things,
you know, where you're just kinda going
back and forth and, like,
just hearing those notes against each
other.
Then start with A-flat.
[MUSIC]
And get used to the fingering for
that, and you'll, you know, you've already
kinda got the sound of the G in your head.
So you, you,
what you're hearing is irrelationships
through the, the, the intervals.
So, when you play the A-flat, it's gonna
take you a little less time to hear that.
Because you're already used to those
interval relationships.
And then when you do the A, the third one,
that's the last one.
[MUSIC]
It's gonna be even easier.
It'll just take you a little less time, to
just get comfortable with that fingering.
Because, as I said, the fingerings sort of
repeat themselves across the strings.
Then, start on those pesky scales.
[MUSIC]
Right?
So,
getting through those different scales.
And we're gonna have a PDF for this up on
the site so you can read through it.
But, as,
you know, the most important thing is to
get the sound of this stuff in your head.
So there's our reference for that, and
that is it for
now, for the diminished chords, arpeggios
and scales.
All right.
[MUSIC]