Diminished Scale Secrets Part 1

yt_logo_rgb_light CLICK SUBSCRIBE!

Before we look at the diminished scale it is worth noting that we can find  two different modes within the scale:

diminished, scale,
Diminished Scale Jazz Improv and Compositions Concepts

To begin with we will use the E diminished scale as it is an easy guitar fingering.

diminished, scale, concepts
Diminished Scale Concepts

From the diminished scale we can use Dominant chords in Minor 3rds.

 

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improv and Compositions Concepts

Tetrachord line ascending in Minor 3rds played over a C7 dominant chord.

diminished, scale, jazz ,improv, composition, example , tab
Diminished Scale Jazz Improv and Compositions Concepts

Tetrachord Root flat 5 over C7 Dominant Chord

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improv and Compositions Concepts

Below is a fingering that is from a John Mclaughlin sequence using the E diminished scale and is [To Me] a very comfortable fingering. The key is to connect each 4 not grouping [Tetrachord] with the 1s finger. This way the scale flows really easily and comfortably.

John, Mclaughlin, Jazz, guitar, diminished, scale , lick tab, music, notation
E Diminished Scale Jazz/Fusion music theory and composition lesson John Mclaughlin Style

C DIMINISHED SCALE:

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improv and Compositions Concepts

From C diminished scale we go up in minor 3rds with 7#9’s

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improv and Compositions Concepts
Diminished Scale Jazz Improv and Compositions Concepts

Here we Employ Minor 7ths in minor 3rds

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improv and Compositions Concepts
Diminished Scale Jazz Improv and Compositions Concepts

Next we employ Dominant 7ths in Minor 3rds

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
E Diminished Scale Jazz/Fusion music theory and composition lesson
Diminished Scale Jazz Improv and Compositions Concepts

In this example we employ Slash Chords

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
E Diminished Scale Jazz/Fusion music theory and composition lesson
Diminished Scale Jazz Improv and Compositions Concepts

To finish with we have some more chord ideas but this time from the g sharp diminished scale.

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
Diminished Scale Jazz Improvisation and Fusion music theory lesson
E Diminished Scale Jazz/Fusion music theory and composition lesson

THE 13 FLAT 9 dominant chord

This is the common “Altered” dominant for this scale.

Below is a John Mclaughlin minor 7 flat 5 to a 13 flat 9 This has a masterful and great original fusion sound to it that avoids the predictable diminished cliche

diminished, scale, jazz ,improvisation composition, music, theory, lesson, tab, notation,
E Diminished Scale Jazz/Fusion music theory and composition lesson
Diminished Scale Jazz and Compositions Concepts

 

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

MICHAEL BRECKER JAZZ IMPROVISATION Lick Quick Analysis

yt_logo_rgb_light CLICK SUBSCRIBE!

 

CHROMATICS AND CELL [TETRACHORD] REPLICATION 

Michael brecker  jazz improvisation part 2 replicated cells

In this example can see how Michael Brecker weaves in and out of the harmony with a replicated cell that descends in minor 3rds.

4 note  cell

Michael brecker  jazz improvisation part 2 replicated cells

2 cells descending in minor 3rds replicated

replicated cells in minor 3rds for jazz improvisation

We can now look at the whole line and see and hear where the descending replicated  cells in minor 3rds start and how they serve their purpose.

Michael brecker  jazz improvisation part 2 replicated cells

Thanks for viewing this post, I hope it was interesting and useful. Please subscribe to us on youtube!

yt_logo_rgb_light CLICK SUBSCRIBE!

 

John Mclaughlin “Dominant” D7#9 Fusion Guitar Lick analysis

yt_logo_rgb_light CLICK SUBSCRIBE!

John Mclaughlin analysis of how to improvise over Dominant chords example

Hi Guys,

Just another “Quick” fire lick today from legendary guitar great John Mclaughlin!

This is a short lick doubled in unison with strings [or synth] and played in double time. It employs strict alternate picking starting on a down stroke. The lick exploits two “Dominant” chords, D7#9 and D7#9#11.

John Mclaughlin Guitar Lick:

John, Mclaughlin, "Dominant", D7#9, Fusion, Guitar, analysis
John Mclaughlin analysis of how to improvise over Dominant chords example

Ascending John employs a simple pentatonic scale that exploits both the #9 [F natural] and the Major 3rd [F#]. Descending he employs the F melodic [jazz] minor scale.This is because the second dominant chord exploits the #11 [Ab]. It also creates an augmented flavour with the #5 [Bb] note]. This finally resolves to GMaj7#11 with an F#m9 arpeggio that finishes on the C# note [#11 of Gmaj7#11].

Although this line follows musical logic it is also slightly ambiguous which in turn creates an interesting and more original sound:

LICK:

John, Mclaughlin, jazz, fusion, guitar,  lesson,
John Mclaughlin “Dominant” Double Time Fusion Guitar Lick

VARIATION with Chromaticism:

John, Mclaughlin, jazz, fusion, guitar,  lesson,
John Mclaughlin “Dominant” Double Time Fusion Guitar Lick

PDF FILE:

PDF 2:

IF THIS LESSON WAS OF VALUE TO YOU THEN PLEASE SUBSCRIBE TO US ON YOUTUBE BELOW, THANKS!