MEE) DMimisHED PRIVATE LESSONS BY JEAN Marc BeELKAD) This book Is dedicated to my mother, Solange Bach ISBN 0-7935-8502-5 HAL*eLEONARD® CORPORATION ‘Copyright © 1907 by HAL LEONARD CORPORATION Intemational Copyright Secured ~All Fights Reserved "Noa ofthis publication maybe reproduced in any form ‘orby any means wihout he por niten permasion of the Punisher Visit Hal Leonard Ontine at eee aneDRANISHED PAGE 4 Introduction 4 About the Audio Tuning Ea 5 The Diminished Scale in a Tonal Context 7 The Diminished Scale with Chromaticism ARES - Diminished Triads 10 Major Triads n Minor Triads 13 Diminished Arpeggios and Polytonalities CHAPTER |a| v7 Diminished Variations in a Modal Context a Acknowledgements 22 GUJTAR NOTATION LEGEND cD TRACK 3-6 7-10 1-12 13-14 15-17 18-25, 26-32Introduction The diminished scale is frequently heard in jazz and fusion music. Although it is less common in rock, the diminished scale remains an important tool for improvi- sation and composition. In this book, we will explore different ways to use this scale in a variety of musical situations you may encounter—in jazz, fusion, and rock. The intervallic structure of the diminished scale alternates between a whole and half step (whole-half) or a half and whole step (half-whole). Each version is an eight-note-per-octave symmetrical scale. diminished (whole-hall) Because it is a symmetrical scale, the diminished scale has four possible roots. The C diminished scales above could also be called E> diminished, Gb diminished, and A diminished. Because of this, there are only three different diminished scales in total, just like the diminished seventh chord. To begin, we will use the diminished scale (employing major and minor triads, arpeggios, and added chromatic notes) in lines over dominant 7th chords. Then Wwe will move on to use the diminished scale over other harmonies such as minor seventh, major seventh, major seventh sharp-eleventh, and others. About the Audio The audio symbols, ?. found throughout this book indicate the CD track num- ber where each example will be found. Each example is played several times at full tempo, then at half speed. In addition, short introductory phrases (which are not transcribed in the examples) are some- times included to provide a better sense of context and to maintain an improvisa- tional feel.CHAPTER 1 The Diminished Scale in a Tonal Context 3 Example 1: iI-V-I (in Bb major) The chord progression is Cm7—F7b9—-Bbmaj7. Over the V chord (F7}9), the dimin- ished scale (half-whole) is used. This example uses three triads per scale pattern before resolving to Bbmaj7. oo cm Bbmaj7 F7b9 pote te tee tte Me 6 7+ > Example 2: ii-V- (in C major) The progression is Dm7—G7>9-Cmaj7. This example uses an ascending dimin- ished scale over the V chord (G7b9) before resolving to Cmaj7. Dm? 2.> Example 3: i-V-I (in G minor) The progression is Am7b5-D7h9-Gm7. Note the diminished scale pattern with wider intervals used over the V chord (D7b9). AmTbs * x = ee SSE SSS or SS > Example 4: fi-V-i (in D minor) The progression is Em7b5-A7b9—-Dm7. Here is another example using the dimin- ished scale over the V chord, in this case A7b9. Em7bs : = -The Diminished Scale with Chromaticism > Example 5: ji-V-I (in D major) The progression is Em7—A79—Dmaj7. This time chromatic notes are added with- in the diminished scale over the V chord (A79). Em? ? Example 6: li-V-I (in E major) The progression is Fim7—-B7b9-Emaj7. Example 6 uses the same idea as Example 5—chromaticism is added to the diminished scale to create different color tones. Fim?° Example 7: iI-V-i (in D minor) The progression is Em7>5-A7b9-Dm7. Example 7 adds a chromatic passing note to the diminished scale and resolves to a minor tonic chord. mths - =— 2 CE i 2 bs 2S SS eel = | — Dnt sees Example 8: il-V- (in F minor) The progression is Gm7b5~C7b9-Fm7. This straight ahead bebop line utilizes the diminished scale with added chromatic notes on the V chord (C79), resolving to Fm7. Gmtbs eile tebe ee ee - SSS eee ono i Fat tebe pate —p Ee te get ote — = i 6 —— —— 5 3CHAPTER 2 Diminished Triads era Example 1: Diminished Triads over Cm7 The progression is Cm7-Fm7. This example uses Db diminished arpeggios over m7. & Example 2: Diminished Triads over Asus4 and A ‘The progression is Asus4—A. This example incorporates a Bb diminished arpeggio with additional passing tones over an A tonal center. ce ee ie Fes =o SSS optMajor Triads } Example 3: Major Triads over G7 Example 3 moves major thirds symmetrically by an interval of a minor third (fol- lowing a diminished scale pattern) over G7. ie ect FEEre set EEEt cine tebe tcp. wey + & t the , the » — ia Example 4: Major Triads over Cm7 This time, we'll play major triads with an added flat-ninth, moved symmetrically in tritone intervals (following a diminished scale pattern) over Cm7. oe i 10Minor Triads d Example 5: Minor Triads over F7 and Fi7 The progression is F7-F#7. Example 5 uses minor triads, moved in intervals of a minor third. nt Sail ERE E tie se tel Einie tee tebe ot pes é > Example 6: Minor Triads over C7 This example uses minor triads with an added flat-fifth and some chromaticism. Triplet Fea (3-3)d Example 7: Minor Triads over Cm7 Here we see Abm and Fm triads with an added major third, moved in minor third intervals. 12CHAPTER 3 Diminished Arpeggios and Polytonal icy Example 1: Over C5 Example 1 places Bb diminished arpeggios moving by minor third intervals over a C5 power chord. This example also incorporates a sweep picking technique. d Example 2: Over F5 Here, diminished arpeggios are moved up chromatically, creating a sort of poly- tonal sound. This example incorporates two-handed tapping technique. 13} Example 3: Over ES Example 3 utilizes B7 and D7 arpeggios over E5 to create a bi-tonal sound. Bot Example 4: Over B}1319 Example 4 features another bi-tonal idea, this time with C7 and E°7 arpeggios played over Bb13}9. Bb 139 rtd Example 5: Over F Example 5 uses diminished-plus-major-seventh arpeggio shapes drawn from the Bb diminished scale over F. Double the same lick up or down a minor third to add a cool harmony line. } Example 6: Over G7H1 This one uses the diminished scale with octave displacement. You can also shift this lick up or down a minor third. oregoad Example 7: Over B13}9 Example 7 incorporates major triads and chromaticism over B13b9. BI3b9 d Example 8: Over Ab and Dbm/Ab Here we apply the Ab diminished scale, using sixth intervals connected to the notes of Eb minor pentatonic. Ab ==. fl eSCHAPTER 4 Diminished Variations in a Modal Context } Example 1: Over CF Example 1 is a scale pattern descending by minor thirds over Cf. aa ‘e 'e te ie > Example 2: Over CF Example 2 uses the diminished scale in four-note-per-string patterns with a two- handed tapping technique. cre Se 7 bet ene | 7d Example 3: E749 This one moves the scale pattern in tritone intervals. ooo Example 4: Over Cm-Cim-G7 A frightening double-stop diminished idea you can double (harmonize) either up or down a minor third...d Example 5: Over Dit Example 5 employs diminished triads with chromatic passing tones. > Example 6: Over Gmaj7H1 Try playing this pattern down a minor third as well. Coai74 1 19d Example 7: Over F# This last lick mixes minor and major triads with dominant seventh arpeggios. FH FaboeLLAcknowledgements Thanks to: Mareello for his patience in transcribing these thousands of notes. Thank you for being so dedicated. Colin ‘Doc’ Sobers (The Computer Doctor) for his positive energy and amazing work in editing and preparing the musical examples for this book Keith Wyatt at Musician's Institute. Steve Blutcher at DiMarzio. John Ow for improving my guitar tone with an excellent instrument. The Yamaha is just great! ‘Special Thanks to Bill Killbourne and Marie Christine Belkadi. Thank you for being around me and for being who you are. 24Guitar Notation Legend Citar Music can be notated tree arent ways: on & musica staf ntablture, and in rhythm slashes. D A D gor @a ITH SLASHES ar writan abo te Sia Strum brs int rhythm eae, Use te cord apa oun at the tp of A, ‘ete page of rancor te appropiate chord vols. Round Nites: tabeads inate Sing ots. : J ‘THE MUSICAL STAFF shows pitches and ft ‘yt an aed Oy tar nes roeasres Psa ramed aftr the fst Sigs ‘een leer of he aptaet ‘TABLATURE gopialy eprasuns ne lar ingerterd, Ean orzo ne Tepes a sting, ant each nber representa ‘ah ting, 20a ret 1st 82nd sings. open D chord open played togetes Definitions for Special Guitar Notation [ALE STEP BEND: Ste te note nd end WHOLESTEP BEND Ste te ratand GRACE NOTE BEND: Strike te roe ané____-SLIGHT (HICROTONE) BEND: Ste the wp V2 siep. ‘re up oe stp. and up sindetua The est nte does nota and bend up 14 Step. ot take ary ie oe yy, 0 ND RELEASE Sie Ne olrd-—«PRE AEN: en eet asia, —«PREAEND AND RELEASE: ud De no_—_UMSOM BENDS Be we noes fovwpsthdted Senieetax berate Ceedetet Senetcaocce be tené Stes nae De vet op ‘eonmal nie Om te Sense ne ‘eho gt Sua == — = 3 7 2 " A et na tx a iB ie aaroT st vey ry WIDEWRATE Te pth aed oa HANME.O Sia ea om nt PUL-OFF Pc geo te os Ee ee acme ves we kokg wares ft deh nte_ tr annge Se er et on ria te (orcas) ance’ tgetY wet pt, pate ae sid (So til pe. Sra tte oe — —— LEGATO SLIDE: Strike nett note and_—_—SMIFT SLIDE: Sama estos, xcept_—TRIL: Very api aera bevaen the TAPPING: amar ap) he et nde then seine sme ethan ge up ox the stcond noes stk. ris indeed by contnasusl hammering whe pckand nex or male ge down toh send te, The second ete (and pling ot. ng pl fa the at et ye at ‘erate hand tremens — |NATURAL HARMONIC: Stik the rate whe ‘he tet and ty touches te stag het oer te ret incited PINCH ARMOR: The ot rat normaly ard a harmonies pede by {ing the ge fhe thar the po ‘olde geo te pk and ote HARP HARMON: The note is rete normaly PICK SCRAPE: The eo fhe pikis and aarmonc i roduol by gay resting herbed down (ru) he sting, producing ek tans nse ge ety abo the Inte ti parenses) whe te pick A srt sound = or a rh « i & & 3 ¢ $ § ? FF 7 = a fa i ‘B iB iB 'MUFFLED STRINGS: A pecussv sounds PALM MUTING: Th not is pariy muted RAKE Drag the pk a0 the sings rouesd by ying the ethan coe the byte lk an ht touching the Indeed wt angle maton ings) witout depressing and ting stings) jst before tebe. them wth he lan ‘TREMOLO PICKING: The noes pike "apy and cominuusy posse, [ARPESGIATE: Pathe ots of he cord Inet by uy rong nem tom tom oop. ‘VIBRATO BAR DIVE AND RETURN Th VIBRATO BAR SCOOP: Depress ne ar st Fh ofthe not or har dopped aber strange te, then aly lmmedistly dopa peti uber of pected number of tps (ny) thon release the br, Stes, ten lease ack he orina retuned oe rial pe, pin \IBRATO BAR DP: tithe ota hen 4g an = Additional Musical Definitions S| comp — + ert et (a ote) Ay. Fi. + Label usd trea reuing atzongrurt pate (ely chr, (aceon) + Accentuate note with great intensity itt Label used to recall composed, melodie = vt a eee & (sacato) + Play the note short iy + Label used to dont a ret melodic ‘igure which sto be inserted into the rangement, + Downstroke Fy. Fill + Achordal version of 2 Fi v + Upstioke facet + Insrumentis sent rps ut DS. a1 C000 Go back tothe sign (8), then lay un the measure market “To Coda” then skip toe section labetes “Code, DS. a1Fine "+ Go back othe beginning ofthe song and lay unl the measure marked “Fie” (ne), Repeat measures between sgn. Wen a epated section has etfrent tings, pay the ist ending ony heft time and tne saconé ening ony the 1 second time, NOTE: Tablature numbers in parentheses mean 1. The nots being sustained over 2 system (not in standard notation i ed) oF 2 The notes sustained, but a new articulation uch asa Fammer-an, pula, se o bat begins, or Te notes a barey aude “ghost ote (atin standard notation is lo In parentheses), 23ress Musicians Institute Press is the official series of Southern California's renowned music school, Musicians Institute. MI instructors, some of the finest musicians in the world, share their vast knowledge and experience with you — no matter what your current level. For guitar, bass, drums, vocals, and keyboards, MI Press offers the finest music curriculum for higher learning through a variety of serie HAL*LEONARD® ESSENTIAL CONCEPTS Designed from MI core curriculum programs. 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