Copyright © 2012-2020 pianoscales.org. When you hear a certain scale, you probably associate it with something. The Solution below shows the E blues scale, on the piano, treble clef and bass clef.. Along with the wide intervals in the Diminished triad these notes will give you a very special sound. E blues scale. Dim7 chords are not as commonly used as minor, dominant or major chords, but when they do pop up, they have a … Tag Archives: diminished scale blues Minor Blues – 5 Important Sounds To Know and How to Use Them. The diminished scale pattern is a whole – half step repeating pattern. Even more so if you take into account cultures that use quarter-tones. Purchase the worksheet of the video [PDF - 5.00 $], Aimee Nolte performs in duos, trios, and big bands as a jazz pianist and singer. Then practice moving in an out of the blues scale from blues to the dimished triad (The arpeggio). Messages 14,681. It is also worth mentioning that, while we are primarily discussing dominant chords in this article, there is also a diminished scale that can work over a diminished chord. Are you tired of using your same old blues improv ideas? Diminished Scales Blues Exercise Are you tired of using your same old blues improv ideas? Robben was introduced to the sound of the diminished scale through working with Miles Davis, who's music uses the harmony quite a bit. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). Practice this run on the top two strings first, then move it down in the two octaves. In these diminished scale diagrams, any of the white circles can be considered to be the root / tonic note of the scale. See an example of shape for the dimished scale of C below. See an example of shape for the dimished scale of C below. Its one of these scales that just sound like jazz. It is this ‘blues’ note that gives the scale its unique ‘bluesy’ tone. How to use a Diminished Scale and Chord in a 12 Bar Blues – EP170. Primarily because the diminished scale is a symetrical and synthetic construction and not really what fits any type of tonal song. That b3/#9 going to a major 3rd sound is already part of blues vocabulary. 1 , the first measure is the A Mixolydian mode (1–2–3–4–5–6–b7), the scale typically used over dominant 7th chords. Since the key of E appears on the Circle of fifths diagram as both a major and minor key, the Lesson steps explain both ways of constructing this blues scale for this key:. B: B, C, D, D#, F, Gb, Ab, A, B, Intervals: 1, b2, #2, 3, #4, 5, 6, b7 Diminished Scale Guitar Diagram 2. It is also a so-called symmetrical scale since the intervals are consistent. Dominant Diminished Blues Lick. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. Be careful and always control by ear when you use diminished scale or whole tone scales because they … Take your ideas to the next level by adding a lick taken from the diminished scale to your playing. The Diminished Scale Mathematically, there must be a finite number of scales, but scales seem pretty infinite to me.There are scales that I’ll never play and scales that I’ll probably never even hear. This is difficult to remember. 5 uses the half/whole scale to create a lick over the #IV diminished 7th chord. “Diminished licks in blues progressions are, seriously, one of the coolest things you can whip out when you are taking a blues solo,” Tyler says. Try playing an E-blues scale and see how the E-diminished triad fits over that scale. The diminished scale can be created by stacking two diminished 7th chords a half-step apart on top of one another: Notice that the scale has eight unique notes, thus the name octatonic (which literally means eight tones). The we’ve got F sharp diminished (scale) which is the same as C diminished and then we go back to our standard blues sequence. Primarily because the diminished scale is a symetrical and synthetic construction and not really what fits any type of tonal song. Take your ideas to the next level by adding a lick taken from the diminished scale to your playing. A#/Bb: A#, B, C#, D, E, F, G, Bb, A# Dominant Diminished Scales (Diminished Blues) The Dominant Diminished Scale consists of eight notes, and therefore belongs to the category of octatonic scales. The half-whole diminished scale is sometimes referred to as the “auxiliary diminished scale” (again, note the inherent contradiction because some people use the same term for the opposite scale!) Check out his classic tune, "Techno" from his "Still Warm" CD. I’ve transcribed a chorus of blues solo that I improvised in which I was using both the diminished sounds and the more traditional blues sound of the blues scale. Thanks. But when you apply it to the blues scale you come to emphasize the blue note Bb in the E-blues scale – and the devious 6th which in the case of E-blues is the note Db. It is also worth mentioning that, while we are primarily discussing dominant chords in this article, there is also a diminished scale that can work over a diminished chord. In the same way that we observed for the diminished chord, the diminished scale is repeated every three semitones.This is very advantageous, as it opens up a very wide range of possibilities. Blues Diminished scale Common Something seems out of place. However, there are more definitions of the Blue note, I use the most common definition. Practice this run on the top two strings first, then move it down in the two octaves. The diminished scale has a few different names, including the octatonic scale and the half-whole scale, but they’re all the same scale. 1 , the first measure is the A Mixolydian mode (1–2–3–4–5–6–b7), the scale … This is largely because dominant 7th chords are chords of transition. Notice that we keep the upper note, the sixth, constant and just move the bottom note up. For today, we're just going to focus on the half-whole diminished scale because, like the other scales on this list, it works really well over a G7 chord. The full diminished scale will use 9 notes. More commonly used by jazz players, the half-whole diminished scale and diminished 7th arpeggio are right at home in a blues setting, and we’ll be discussing ways to use them over a 12-bar blues. Sometimes you just have to wait few minutes to download the file. Watch the Level 3: Diminished Blues online guitar lesson by Jeff McErlain from Take 5: Diminished Blues As a guitar player, we can't discuss the diminished scale and the blues without talking about Robben Ford. D#/Eb: D#, E, F#, G, A, Bb, C, Db, D# The scale that you need to use in a context not the diminished scale. Of course you can play the diminished (half-whole) over every dominant-seventh chord, but if you do this in a simple blues progression, you will stop sounding bluesy. We’ll discuss each briefly. It is also a so-called symmetrical scale since the intervals are consistent. Hello Steve, That's a question that I unfortunately never got the chance to cover here, on the website... Now's the time! This means that (for example) an A diminished scale contains the same notes as a C diminished scale, an E flat diminished scale, and a G flat diminished scale. You can also apply this dominant diminished scale pattern when soloing over a jazz blues chord progression. In Fig. The 3 bars mentioned above are the most obvious choices for using the diminished scale in a I-IV-V blues. the “auxiliary diminished dominant” or even the “auxiliary diminished blues” (not to be confused with the Mixo-Dorian blues scale for soloing over the blues). This means there is harmonic movement occuring around these chords. The half-step intervals are then Minor: 3-2-2-3-2; Blues: 3-2-1-1-3-2; You can play this scale on a keyboard … It can also be used for fusion and heavy metal. Play the blues scale over the following C7#9 vamp and step out by using the half/whole diminished scale. In the C Diminished Scale this would be C - Eb - Gb - A (Cdim7) and D - F - Ab - B (Ddim7). Watch the Take 5: Diminished Blues online guitar lesson by Jeff McErlain from Take 5: Diminished Blues Hi, I'm Jeff McErlain and welcome to Take 5: Diminished Blues. Dominant Diminished Scales overview In Fig. Diminished Scales. The sound of the Diminished triad is in itself very wacky to listen to. Try playing an E-blues scale and see how the E-diminished triad fits over that scale. The diminished scale has a few different names, including the octatonic scale and the half-whole scale, but they’re all the same scale. You will be sent to a page containing the download links. Description. The Blues scale: Blue notes. This means there is harmonic movement occuring around these chords. So when we got to the fifth bar we have F7 to F sharp diminished. This puts it right in my A minor pentatonic position at the fifth fret. Each scale connotes something different. The half tone, whole tone formula is consistent throughout the scale, for which reason it is sometimes called the Half-tone/Whole-tone Scale. In this video I am going to show you some longer melodic ideas or licks with arpeggios and using different minor sounds on a Cm blues. Most jazz standard progressions, where we find the diminished chords, are tonal. The 3 bars mentioned above are the most obvious choices for using the diminished scale in a I-IV-V blues. A: A, Bb, C, C#, Eb, E, F#, G, A guitar scale: B Diminished scale Forget the guess work and use our helpful scale & mode recommendations for each Guitar Backing Track. Power Your Blues Soloing with Diminished Lines. The Diminished scale is an important scale used in Jazz but can also be used in blues. Since there is a VI7b9 chord in bar 8 of a jazz blues (D7b9 in the key of F), you can use the D7b9 dominant diminished scale to outline this chord in … F: F, Gb, G#, A, B, C, D, Eb, F So when we got to the fifth bar we have F7 to F sharp diminished. Just the blues scale could be a basis for a particular key (Blues). Along with the wide intervals in the Diminished triad these notes will give you a very special sound. This scale is used to solo over diminished seventh chords. Formula: Half, Whole, Half, Whole, Half, Whole, Half, Whole, contact | about | sitemap | policy Fig. Improvise and compose solo's up to the entire neck with more than+300 Blues backing tracks. Of course you can play the diminished (half-whole) over every dominant-seventh chord, but if you do this in a simple blues progression, you will stop sounding bluesy. The scale that you need to use in a context not the diminished scale. or download example audio. More commonly used by jazz players, the half-whole diminished scale and diminished 7th arpeggio are right at home in a blues setting, and we’ll be discussing ways to use them over a 12-bar blues. Draw it up on a piece of paper so you get an overview. Purchase the worksheet of the video [PDF - 5.00 $] This puts it right in my A minor pentatonic position at the fifth fret. Over a dominant 7 th (b9) chord, starting the diminished scale a half-step above the root (also sometimes called the “auxiliary diminished” scale or the “b9” scale, this is similar but not identical to the altered scale – note that the diminished dominant scale has a natural 13, not a b13, and it has the perfect 5th above the root – which is not the case with the altered scale): Reactions: JonR. The diminished scale also includes a b5, which is the blue … Diminished scales are most often used in jazz improvisation, although of course they do also occur in other improvised musical forms. The usual six note Blues scale is a minor pentatonic scale with the addition of the diminished 5th (right in the middle of the pentatonic scale). G#/Ab: G#, A, B, C, D, Eb, F, Gb, G# The diminished scale is a symmetric scale formed by the sequence: Tone – Semitone – Tone – Semitone – Tone – Semitone – Tone.. Diminished scales are used in the construction of flat nine (also known as sharp nine) chords, but may also be used in conjunction with most dominant 7th chords. The Diminished Scale is often misunderstood. Fig. Live performances, Please join my YouTube channel Aimee Nolte Music with hundreds of videos! G: G, Ab, A#, B, C#, D, E, F, G Diminished scales are used in the construction of flat nine (also known as sharp nine) chords, but may also be used in conjunction with most dominant 7th chords. But when you apply it to the blues scale you come to emphasize the blue note Bb in the E-blues scale – and the devious 6th which in the case of E-blues is the note Db. It is symmetrical, unlike the major scale, and this alone gives it a certain mystery. This is largely because dominant 7th chords are chords of transition. 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