This chapter discusses the modes contained within the diminished and whole-tone scales. The diminished scale contains two modes: 1) the diminished scale, which begins with a whole step from the root note, and 2) the dominant diminished scale, which begins with a half step from the root note. Both modes are played using the same finger pattern on the guitar. The whole-tone scale only contains one mode. Understanding the modes makes applying these scales when improvising over different chords easier.

1. ic*uli{fflinliTfl

2. Guitqr Secrets r metricql Scqles Reveqled
Gonlenls:
Poge * CD trock
SECTIONl: INTRODUCTION., """'4 """""'1
Unit t: Modes of fhe Diminishedo nd Whole'ToneS coles """"5 """"""3
ExomPleIs A -l C
Unit 2: Stqtic ond FunctioningD ominontT fhs' """""""6
ExomPles2 A-28
SECTIONll : THED IMINISHEDSC ATE
Unit 3: Fingeringso f fhe DiminishedS cqle' """""'7
Exomplei3A-3c """""""'''""4
Unit4 : How lo leorn qnd Prqcticet he DiminishedS cqle...,''"""'""""I0
C7 ProcticeT rock """"""""'5
Unit5 : DiminishedS cqleS equences.,,, """""'I I
Exomple4s- . l3. , ' . , ,. . , , , , : , . * . , , . ' i " " " " " " ' " " " " " " " "6-15
Uni t6 : Dimini sheAdp eggios , . , ' . , ' , , , , ' , . - . , , , , , , " " " " ; " " 'r-rr '19
Exomplels4 A-l 4E.,'. ) ' ro
Unif 7: Usingt he DiminishedS cole 2.|
ExomPles1 5-22 '17-24
Unit 8: Six-Nofe Diminished Shqpes '27
ExomPles2 3-24 '25-26
Unil 9: Moior Triods in the Diminished Scqle 29
ExomPles2 5-g4 27-36
unif l0: using the Diminisheds cqle over stqtic chords '.,,'.,...34
ExorriPle3s5 -40 37-42
lll: THEW HOTE-TONSEC ATE
Fingeringosf the Whole-ToneS cole '37
exJmptes4 1F.-41E,,,,.,.,..,, '43-45
Whole-ToneS cqleS equences.,.,,., 41
Exomples4 2-47 '46-5.|
Whole-ToneA rPeggios' , 'M
Exomple4s8 A-48E '52
Usingf he Whole-ToneS cqle.,., 46
Exoriples 49-56 53-59
Modern Uses of the Whole-Ione - Stolic Chords '52
Exomples5 7-60 '60-63
The Fingerboqrd - Symmetricql Scoles Geometric Ployground '54
Exomple6s l-66 '64-69
Diminished ond Whole-Tone Lines '59
Exomples6 7-76 '70-79
SECTION
Unit I l:
Unif l2:
Unit l3:
Unii l4:
Unit l5:
Unit | 6:
Unil l7:

3. Foreword
welcome Io SymmetricotscolesR eveoled,L eorningh ow to ploy ond uses colesh os olwoys been o lorge porf of everyg uitorp loyer'sp roctices chedule,P loyersh ove spentc ounflessh oursp rocticings colesu p ond down oll over the guitor,s ometimesw ith greot successo nd sometimesw ith frustrotiono s the end result.
Thoseo f you who know me from my bookso nd videoso r yeorso f the Guitor Instituteo f Technology( GlT) know l've been involvedi n guiiore ducqtionf or o long time, l've seenh undredso f studentss trugglew ith the some problemst hot I foced when gling throught he processo f leorningh ow to ploy ond uses coles, After mony yeorso f experience,b oth pldyingo nd teoching,l 've become o big believeri n cuttingt hrough the nonsenseo nd gettingt o the point of it oll,w hich isp loyingm usic,
Thep resentotiono nd ideosi n thisb ook ore definitelyf rom o ployer'sp erspectiveW. e're not going to get too in-depthi nto the historyo nd clossicotlh eoryo f the diminishedo nd whole-tones coles,W e,llf ocusm ore on theiru sesi n contempororys tylesli keb lues,r ock,f usion,o nd )ozz.D on'tg et me wrong;t here willb e no shortcutsh ere when it comest o modern musict heory.A s for os l'm concerned,o ll guitorp loyersm ust hove o good workingk nowledgeo f hormonyo nd theoryo nd the obilityt o reod music,e ven if it,so nly sim- ple chord chorts,
Three Sfeps to Success
Leorningto improvisec on be thoughto f os o three-rtdpJ rorr. Thef irsts tep ist ypicollyt he teorningo f scoles,U singe ithert he key centero pprooch or the modol opprodch,s tudentss houldl eorno t leosto few usefufl ingeringso f the mojors coleo nd be oble to ploy them in dttt eysA, lso,i n thisf irsts tep,p loyersn eed to leorno bout hormonyo nd theoryt o help understondw hich scolef itso ver which chord.A rmed with somet heoryk nowledge,s tudentsc on immediotelyb egin ployingo ver even dif1cultc hord chongesb y simplys witchingt o the corrects coleo r key centerf or the givenc hord,
Mostp loyerso fter o periodo f time willb egin to find thisf irsts tep limitingT. heym oy soyt hot they con,t seemt o moke theirs oloss oundl iket he chords,t hot they soundt oo scolor.M ovingo n to stept wo, we introduceo rpeggioso s o tool to creote chord soundsM, ixingo rpeggiosw ith our scoless tortsm okingo ur solosm oreh ormonicolliyn telligent,
Stept hree ist he finolf rontiero f improvisingo,s we now stortr eollyl eorningm ugc.S of or we,ve been using scoleso nd orpeggiosb ut moy not been oble to moke our soloss oundm elodic,N ow it'st ime to leorn melodiesM. osto f us need to leorno repertoireo f melodicl inest o usew hen we improviseA. lmoste very one of our fovoritep loyersh os,o f one time or onother,l eqrned linesb y copying recordingso r tronscriptions. l've met mony studentsw ho tell me they don't wont to soundl ikeo nyonee lseo nd feel they shouldn,t copy other ployersT, heys oonr eolizet hot the rood to originolityg oest hrought he lond of copying licks, phrosingo, nd conceptsu sedb y fovoritep loyersE, ventuollyt,h esei nfluencesm erget ogetheri nto your
own originols tyle.
One lostt hing:A common misconceptiono bout improvisingis t he phrose ployingw hot you heor.,,M ony ployerss oyt hey do this,l eodings tudentsto thinkt hot they simplym oke up musico n the spot,W hot they ore reolly soying is thot they ore ploying whot they know,
lmprovisingis t he spontoneousp erformonceo f ideost hot come to you in the midsto f soloingy, ou moy not know oheod of time whot you ore going to ploy, but ormed with scoleso, rpeggios,m elodic ideos, ond theoreticolc oncepts,y ou con ploy o creotiveo nd spontoneousim proviseds olo,

4. Introduction
Thisb ook deolsw ith the two mostu seds ymmetricosl coles-the scoleso diminishedo nd whole-re toneS, bestd efinedo ymmetricol s hovingr epetitiveo r equol-notes pocingt hot exomple,repeotst hroughoutt t he he whole-tones octove, For cqlei se xoctlyw hot the nqme indicotes;it 'so Thes scoleb ymmetryo uilte n1relyo f whole f o tones, diminisheds colei so pottern of olternotingw hole stepso nd octove.
holf steps,f ourt imesp er one greot thing obout symmetricosl colesi st hqt they ore very guitor-friendloyn fingerboordi d eosyt o so visuolg, rophic memorizeT. he instrumenst imilotro o slide-ruleI,n fingeringf mostc oses,y ou con get withj or by usto eoch of theses ne cqleso nd then repeot the somef ingeringe frets( diminishedu) veryt wo frets( whole-tone)p o r three or down the fingerboord,G uitorp loyersc on melodico eosityd iscoverh nd undredso hormonici f unique deost hot ore not os obviouso n other instrumentlsik ek eyboordsr,e eds,o r bross,
Botho f theses coleso re very usefuol nd creotivet oolsu sedb y tive; improviserTs,h eirs it'so lmosts implicityc urprisinhgo on be decep- w theses imples cqlesc on provides ucho they provideo complexs ound,I n trqditiono l jou, controstingfl ovoro goinstf unctionold ominontc hords.M odernp to loyerse odd on xploitt outsides heses coles oundt o contempororyjo u, rock,o nd even blues.
ln SymmetricoSl co/esR eveqledy ou'lll eornt he mostu sefusl colep otternso nd orpeggiosw explores ithint he equenceso nd scoles'N extw e'll leornt he secretso f how to bestu set he of my fovorite melodic lines, . I
scolesf,o llowedb y severol ;
We'llb egin eoch of the two sectionsb y firstl eornings omeg ood,fingeringfso r eoch scole,l f you olreody know o fingeringo r two, stickw ith them or feel free to modifyo ny oi the iingeringsh eret o suity ourt ech- niqueo nd style'T heu ltimoteg ool ist o be oble to ploy the porticulors coleo nywhereo n the guitori n ony Kt ,U^V, ,.
One moret hing obout the fingeringsY: ouo re limitedo nly by the lowesto nd highestn oteso n the guitor. Thinko f scoleso s hovingn o beginningo nd no end. Don't be too concernedw ith the bottom or top notes of eoch individuopl ottern,Y ou'llf ind thot eoch hosq differents tortingo nd ending note becouseo f the noturol ronge of the strings,
Scoleso re simplyo row of notes,o nd you shouldl eornt o controlthe scoleb y being oble to stortq nd end on ony note, Eventuollyi,n dividuosl colef ingeringsw illb egin to blend togetheri ntJlorgerp otternsu ntil finollyt he whole fingerboordi su ndery ourc ontrol!
How fo Get the Most Ouf of This Book
Theb estw oy to get the mosto ut of thisb ook ist o scon throughe och chopterf irst,G et o feet obout where ond whot the vorioust opicso re ond if they contoin informotiony ou olreodyk now,y ou shouldr eod every poge corefullyb, ut it'so koy to stortw ith ony sectioni n the book thot interestyso u,

5. , 9
Unit l: Modeso f the Diminishedq nd Whole-ToneS cqles
Usingth e term mode when discussinsgy mmetricosl colesm qy seems tronge,b ut modeso ren't justf ound
in mojors cqlesA. ll scoles,in cludingm elodico nd hormonicm inoro nd even the pentotonic,h ove modes
contoinedw ithint hem, Of our two symmetricosl coles,t he diminishedh ost wo modesw hilet he whole-tone
hos just one,
Thef irstm ode of the diminisheds coleb egins,w hen oscending,w ith q whole stepf rom the firstn ote or
root,l nsteodo f givingi t somew eirdG reekn ome, we'lljustc oll the firstm ode Ihe diminisheds cole.
@l Exompte lA: C Diminished 6cate (tst Modet
I step sfep | I//2 step I step I /2 step I step I /2 step
I step I /2 step
Theo therm ode found in the diminishedsc oleb eginsw itho holfs tep,A good nome for thiso ne ist he domr-nont
diminished scole,
Example I B: D Dominonl Diminished Sca.le( 2nd Mode)
/ !
I/2step lstep l/2step lsfep l/2sfep tstep l/2step tstep
I /2 step I step I /2 step I sfep
Don't let thism ode businesws ith the diminisheds colec onfusey ou. Bothm odeso re stilld iminisheds coles
ond ore ployed exoctlyt he some,O nlyt he stortingn oteso re different,Y ouc on ploy both diminished
modesw ith one fingeringp ottern,j usts tortw ith eithert he whole-stepo r holf-steps cqle,Y oud on't wont to
confusey ourf ingersin to thinkingt here ore two differentp otterns,
Ther eosonw e ore even consideringb oth modesi st o moke the scole'so pplicotione osierI,n improvising,
you willn ot only ploy the diminisheds coleo ver diminishedc hords,b ut more often thon not you willo lso
ploy it over dominont7 th chords,T hinkingin termso f two modesm okesl ocotingo r superimposintgh e
scole over specific chords eosier,
Example lC: C Whole-Tone Scale Mode
When it comest o the whole-tones cole,t here iso nly one possiblem ode, No motterw hich note you stort
on in o whole-tones cole,t he resultings colew illo lwoysb e the some,
I step I sfep I sfep I sfep I step

6. Unit2 : Stqlicq nd FunctioningD ominqnlT ths
There ore two primory types of dominont chords thot ore mostly defined by their context, or function, in the
progression-stotico nd functioningd ominont7 ih chords.
Troditionollyd,o minontc hordsf unctiono s tronsitionc hordst hot leod to otherc hordsb y creotingt ension,
Then oturolr esponseto thist ension,c olled dissononcei,s t he desiret o heor thot tensionr esolvedb y move-ment
to onother chord. l'll refer to these dominqnt chords os the functioning dominonts,
Thiste nsionl imitsth e omount of time thesec hordsc on be ployed beforem ovingt o the nextc hord. Most
of the time they willr esolveto o home chord up o 4th.T og et o feel of thesef unctioningd ominonts,p loy
C7 to FmojTo r E7t o Am7 ond listent o the dissononceo f the dominont7 th chord being resolved,
Sfotic( stotionoryd) ominontso re not os dissononot nd ore not usedt o leod to other chords,S toticd ominonts
ore usuollyv omps,o r extendedg roovesw, heret he tune moy stoyo n the chord for o long periodo f time,
All dominontc hordsc on be usedo s functioningd ominontsT, heyc on be extended( C7, C9,C l 1,C l3, etc.)
ond oltered (C7CI5)C, 9(b5)C, l3(b9),e tc.), Stoticd ominont chordsc on olwoysb e extended but not usuolly
oltered becouset he olterotionso ften odd too much dissononceT, heo nly exceptionso re the il9o nd the b5,
Symmetricosl coleso re troditionollyc onsideredo ltereds oundsu sedo verf unctioningd ominontc hords,
providingt heiro wn uniquek indo f tension, '
, ;
Example 2A
Notice how the dominont diminisheds cole contoinse very oltered tone but the $5( or bl3),
Dominqnl 7th Chord: root
Dominonl Diminished Scole*: root b9
. Diminisheds coles tortingw ith o holf step,
Example 28
The whole-tone scolec ontoinst he f5 thot wos missingfr om the dominont diminisheds co/e,T heb 5i st he
only olterotiont hot's common to both scoles.
Dominonf 7fh Chord: root 3rd
Whole-Tone Scqle: root 2nd 3rd b5
3rd sth b7t
il9 3rd b5 sth 6th bTth
sth bTrh
ils b7th

7. Scqle
Proboblyt he mostp opulorp otternf or o diminisheds cole iss hownb elow, notesp er stringt hot coverso little lt,so verticolp ottern usingt hree more thon two octoves.o n ony stringt here'so lwoyso whole step followed by o holf step or vice verso sponning three frets.
At thisp oint'd on't be concernedw ith the stortingn ote,w e willg et into the ..modes,, now' justt hinko f thisf irstp otterno s c diminisneoitorring of the scotet oter,F or on low c ond ending on high D.
@ Exampte 3A: DiminishedScdte
I
C DiminisheSd cole

8. Exampte 38: Dominan] Diminished Scale
Then ext potterni se xocflyt he someo s the firstb ut host wo qdded notes:o low B ond o high Eb,lt odds o
bit more ronget o the scole,b ut more importont,i t includest he root of o dominont7 th chord' Thisis w hy
thisp ottern,w hich stortsw ith o holf step rothert hon o whole step,i ss ometimesc olled the dominontd iminished
scole,
Comporet he fingeringsfo r the oscendingo nd descendingv ersionso f the dominontd iminishedT, oo dd
the low B ond the high Eby ou hove to ploy four noteso n the lst ond 6th stringsP, loyingfo ur noteso n one
stringc on presents omec hollengesfo r guitoristsw, hen oscending,t ry usingy our4 th fingert o shiftf rom the
3rd to 4th note (1-2-4-4).Whedne scending,u sey our lst fingert o shiftb etweent he lqstt wo notes( 4-3-l-l)'
Thel ogic behindt hisi st hot shiftingw ith the lostn ote on the stringw illh ove mores trengtho nd momentum'
Thisr ulei sn ot set in stone;i f you feel you con ploy it fingeringq notherw qy, go for it' And yes,s omeg uitorists
do ploy the four notes with four seporote fingers'
Do somee xperimentingo nd oniveo f the bestf ingeringfo r you,S hiftingis o very imporfontg uitort echnique
not onlvf or diminisheds colesb ut olsof or others coleso nd shopes'
v^ v ^ v- v
v- ^ ^
v^
xx
v A, v-
v ^ v^ v ^
A
v v ^ rt ^

9. 9
Example3 C: HorizontaDl ominanlD iminishedS caleP attern
Whilew e ore on the subjecto f four-note-per-strinfign geringst,h e followingh orizontodl iminishedp ottern
usest hisf ingeringo n everys tringH, orizontofiln geringse mphosizeth e symmetryo f theses colesT, hisp opulor
pottern isu sefufl or long melodicl ineso nd chonging positionsI. f ingeri t the somew oy os the lostp ottern:
1-2-4-w4 hen oscendingo nd 4-3-l-l when descending,
lf the diminisheds colei sn ew to you, you mightw ont to skipt hisp otternf or now ond concentroteo n the
firstt wo fingerings,
G DominonDt iminisheSdc ole
A
v-
v ^ v- !t
v v^ ^ - E
,4, v^ x ^ xx
v o
^ v^ v ^ v^
v
A
v^
v ^ v

10. Unit4 : Howl o Leqrnq nd Prqclicet he DiminishedS cole
Thereo re bosicollyiw o importontt hingst o proctice:t echniqueo nd ploying,B uildingu p techniquei s
somethingy ou con do onywhere,s ucho s whilew otchingT Vo r sittingi n the pork,w hiley ou ploy things
over ond over,P rocticingp loyingi su singt he thingsy ou've workedo ut in o reol musicolp loyings ituotion,
Ployingo long with music-minus-ontoep es,y ourf riendso, r even o drum mochinec on simulotep erform-once.
Thisis t he time to imoginey ou're on stogew ith no turningb ock, lt'so greot woy to get to know
whot you con reolly do ond where your weok oreos ore,
Theb estw oy to leorno ny scoleso r scolep otternsi st o relqtet hem to o chord immediotelyl,t 's importont
to heor,r ightf rom the beginning,h ow b scolew orksm usicolly.
@ cz PRAcrrcET pAcK
Whilep loyingt he C dominontd iminisheds coleo long with the G7 groove procticet rock,l istent o how it
soundso nd relotest o the chord,T hed iminisheds cole iso lmosto lwoysp loyed over o functioningd ominont
7th chord, but for now proctice the scole over o dominont 7th chord vomp.
Yourf irstt endency might be to storto n the lowestn ote ond ploy up or storto n the highesto nd ploy down.
Thot'so koy of first,b ut you shouldp lon to breoko woy from thot hobit os soono s possibleb y procticingt he
scolesf rom differents tortingn otesi n the middleo f the scole.T heg ool ist o memorizeth e scoleso s o com-plete
group of notes in which you con stort ond stop oqywhere,
. '
Technicollyy,o u shouldb e lookingf or difficultf ingeringso r pickingo bstocleso nd ploce somee xtro
emphosiso n theseo reos,M usicollyy,o u shouldt ry to hove somef un with theses colesb y odding rhythmic
voriotionso nd occents.

11. Unit5 : DiminishedS cqleS equences
l'm not o big believeri n exercisesI. w ould rothers howy ou somei deost hot ore not only good for building techniqueb ut ore olsom elodico nd interestinge nought o usew hen performing,I hove io odmit, however, thot l'm cought in the middlew hen it comest o scoles equencesA. lthought hey bordero n soundingl ike ploino ld exercisess,c qles equencesc on be powerfulm elodict oolsf or improv6ingif usedp roperly,
Sequenceso re o processo f ployingt he noteso f o scole in o mothemoticolo rder,T ypicollyp loyed os descendingo r oscendingl iness, equencesc on be mode up of two or more notes.S equencesc on olsob e o significonht elp in leornings colep otternso nd con offers omev ery chollengingp ickingo nd fingering movements, .
Due to theirs ymmetricopl otterns,d iminishedo nd whole-tones coleso re noturolsfo r opplyings equences. Thed iminisheds coleo ffersm ore cool soundings equencesth on ony scoleI con thinko f. Comingu p ore o few fovorites.C heck them oll out on the CD before you leorn ony; then pick two or three thot you like best to stort,G et them down os well os you con ond uset hem,L eornt he otherso nly when you feel you con odd them to your ployingw ithoutj eopordizingth e onesy ou firstl eorned.l t's much bettert o hove o few thot you con usei nsteodo f severotl hot you're strugglingw ith ond con't quite pioy,
Severolo f the sequence exompleso re shownw ith o suggestedc hord thot the linef itso ver, However,o ne importontt hing obout diminishedm elodiesis t hot they willo lwoysw orko ver severolo therc hordst oo, Loterw, e wille xploreh ow to uset he diminisheds cole in detoil.B utf or now, knowt hot if o sequencei s shownf or G7, for exomple,t hot linew illo lsof it over lb7, Gb7,o nd E7.T hesefo ur chordso re qll equolly spoced q minor3 rd oport ond oll occept the somcidimlnishesdc ole.
a
E) Exomple 4
Let'sb egin with o few closic diminisheds equencesA, linee verys oxp loyerk nowsi st hiso ne for G diminished. lt's builtw iih the scolet onesi n thiso rder:2 -l-4-3-6-5e.t c,
Mony of the sequenceso nd licksi n the diminisheds cole include4 th intervolsT. hisli new illh elp you moster the technique of fingering4 thsw ith o bone or two notesp loyed with one finger.T hef ingeringso re nototed, lf you hove borringw ith your4 th finger,t he fingeringsc on be ployed,i n mony instoncesw, ith o combino- tion of your 3rd ond 4th fingers.

12. tizs - aJ Exdmple 5
Anotherw ell-knownd iminisheds equencei st hisd escendingl inef or the dominontd iminisheds cole for Bl. Your 4th finger will get o good workout with this one,

13. t N - L2) Example 6
Then exts equencei ss imilotro the firsto ne, A good descendingl ine,i t contoinss everofl ourthi ntervolso nd
followsth isn ote sequence:6-5-8-7-4-3-6e-t5c,, lt'sp loyed oroundt he 8th fret ond mokeso good linef or C7,
Example 6A
Sequencess ucho s thiso ne con be olteredr hythmicollyto creOteCifferenotc cents,F ore xomple,d isploce
oll of the notesb y shiftingth em to the left one l6th note eorlierm, okingt he firstn ote o pickup,C ontinuet o
repeot thisp rocedure,m okingt he firstt wo notest he pickup ond then mokingt he firstt hree notest he pickup,

14. Also,c onvertE xomple6 ond eoch voriotionin Exomple6 A into8 th notes,8 th-notetr ipletso, nd l6th-note
triplets,
8th-note triplets:

15. , R - A Example 7
Thes equencei n Exomple7 isq n oscendingli nef or the A diminishedsc ole,T hisli nec on be ployed,p osition-wise,
o few different woys, Shown is o pottern designed to keep the sequence in o relo1ve ver1col position.
However,i t requireso bit of o stretchw hen you reoch the 4th string,
AdimT
@ Exampte I
Youm ight find it eqsiert o ploy the losts equencei n o horizontolfoshionu singt he four-note-per-strinpgo ttern.
Tos oves poce, l've showno nlyt he firstt wo borso f the sequence,W orki t out so ybu con continueu p to
the high F$ on the 'lst string.
AdimT

16. t6
@ Exom pte 9
One of my fovorited iminisheds equencesis t hisd escendingl ine.l t'so repeotings ix-notes equencet hot is
designedt o followo djocent strings etsw hiles toyingi n the scole pottern.Y oum ightf ind it eosiert o pick by
stortingw ith o downstrokeo n the firstn ote (C) ond then olternote-pickth e entirel ine,
@ Exampte l0
A weolth of ideosi so t our fingertipsw hen we thinko f the diminisheds colei n termso f intervolsA, lthough
the followinge xompleso re stillc onsidereds equencesw, e willo rriveo f them in o differenlw oy from the
nume1colp otternss howne orlier,B yp locing voriousi ntervols(3 rds,4 ths,S ths,e tc,) obove scole ond orpeggio
tones,w e con discovers everolu niqued iminisheds ounds.
In foct, on interestingc oincidenceo ccursw hen certoini ntervolso re ploced obove the four noteso f o
diminished7 th orpeggio( seeU nit5 on orpeggios)T, her esultinge ight noteso dd up to oll the notesi n o
diminisheds cole.P locingo mojor3 rd,p erfect Sth,o r minor7 th intervolo bove the hoteso f o dimTth
orpeggio resultsin o dominontd iminisheds cole,P loceo 4th, minor6 th,o r mojor7 th ond you get the
diminishesdc qle,
An exompleo f thisc oncept ist hisu seful ineb uiltf rom mojor3 rd intervolsp loced obove the four noteso f o
GdimTo rpeggio.T her esultis o G dominontd iminisheds equence.l 've odded q pickingt wistt o the
descendingp ort of thisl ineb y olternotingt he order in which the intervolso re ployed,

17. @ Example t I
Thei ntervosl equencei n Exomple I I iss imilotro the lostb ut usesS thi ntervolsH, ere,S thso re stocked
obove the four nofeso f on AdimTo rpeggio,A notherw oy you con looko f thisl inei sS thi ntervolsm oving
up minor3 rds,E itherw oy, the resultis o greot linef or A7,
@ Example 12
Combiningi ntervolsc on creote interestingso undso lso.T hise xomplec ombineso lternoting4 thso nd mojor 3rds.I thinko f thiss equenceo s 4thsm ovingu p minor3 rds,w ith olternoting3 rdso lsom ovingu p minor3 rds. All resultingn oteso dd up to on E,G , Bbo, r C$d ominontd iminisheds cole,T hel inec on be ptoyeOn ot only overE 7,o s shown,b ut olsoo ver G7, Bb7o, r C*7,

18. @ Exomple 13
Up next iso cholengingv oriotiono f the previouse xomple,T hiss equenceh oso n offsetf eel due to itsf ive-note
phrosesl.t oeglns-withtw o 4th intervolsp loyed o minor3 rd oporf followedb y o mojor3 rd intervol
storting o whole step obove the storting tone. However, the iop holf of the mojor 3rd intervol becomes the
firstn ote of onotherg roup of 4th intervotsT, hisc reoteso five-notem elodyt hot isr epeoteds everolt imes
movingu p bsthi ntervolsD, escendingt,h e five-notem elody iso bit differentb ut stillu sest wo 4th intervols
followed by o single note,

19. Unil6 : DiminishedA rpeggios
@ Examptet 4A: C Diminished7 th Arpeggio
Thereo re o few veryu sefuol rpeggiofso undi n the diminishesdc ole,T hed iminishe7dt ho rpeggiois t he
mostc ommon,lt 'sb osicolley veryo thern oteo f the scolew ithe och noteo minor3 rdo bovet he next,l t
con be fingeredo few woys,b ut let'ss tortw itht hisp ottern,
v - v
v ^ v o
e v o ^ O
^ v ^ v o
v
A
Thed iminished7 th chord ist he onlyt ype resultingfr om the troditionolh ormonizotiono f the diminished
scole (3rdss tockedo n top of eoch scolet one). lf you hormonizet he scole,t he resultw illb e eight diminished
7ths,o ne builto ff eoch scolet one.
Youm ightf ind it interestingth ot combiningt wo diminished7 th orpeggios,e ithero holf or whole step opori,
creotest he eight noteso f the diminisheds cole.T hiso fferss ome interestingim provisingo ptions.
Let'sf irstl ooko t onothero rpeggiof ound in the diminisheds cole.T hiso rpeggioi so n edited-downv ersion
of the first,O ne woy to looko t it ist hot it'sj ustt he noteso f o diminished7 th chord voicingo n oll sixs trings,
or b5i ntervolsm ovingu p mojor6 ths,E itherw oy, it'so cool orpeggiob ut o bit trickyt o ploy, Event hough
it'so nlyo ne note per string,I stillo lternote-pickth e orpeggio beginningw ith o downstrokel.t con olsob e
ployed usingo sweep-pickingte chnique,T hef ret-hondf ingeringi so lsos hown.
T
2
^ v
v ^ o
v
x
O
v ^ o
A
v

20. Example l4C: B Dominant Diminished Arpeggio
Drowingf rom the dominontd iminisheds cole,h ere'so five-note-per-octovoer peggio.l t isb uiltw ith the
rooI,b 2( b9)3, rd,S th,o nd bTtho f the scole.l t'so good orpeggiof or olteredd ominonts'
87(be)
v^ v ^
- - v
x v x -
^ v v^ !t
v
A ^ tt
Example l4D: B Dominanl Diminished Snape Arpeggio
An unusuovl orio1ono f the loste xomplei sc onstructedu singt he root,b 2,3 rd,o nd Stho f the dominont
diminisheds cole,T hisfo ur-notes hopei st hen tronsposedu p o mojor6 th ond repeoted.T hep rocessc ontinues
o third time up to the 1st string,
B70e) :r
v ^ v
^ !t v ^
x ^ x v o
-^
v ^
v
A - v
Example l4E: Flafted Sth Bb Diminished Arpeggio
Thef inold iminishedo rpeggioi so ctuollyo stocko f b5i ntervolsB. yl eovingo ut everyo ther note of the
diminished7 th orpeggio,w e get thisv ery horizontolo, ne-note-per-strinogr peggio,A good left-hondf inger-ing
is I -2-3-1-3-w4h en oscendingo nd the reversew hen descending.
b-
^ v
^ v
- 5
- v
^

21. Unit7 : Usi the DiminishedS cqle
Thed iminisheds cole,d ue to itsu niquet ensions ound,i so lmosto lwoysu sedo s on oltereds coleo ver func- tioningd ominont7 th chords,Y oum oy be osking, Aren't you supposedt o ploy the diminisheds coleo ver diminishedc hords?T heo nsweri sy es;h owever,w e need to look o litfled eeper into diminishedc hords thot showu p in tunes,M osto f the chordso re substitutinfgo r dominont7 ths,
Beforew e tolk obout usingt he scoleo verd ominontsl,e t'sf irstl ooko f diminishedc hords,I n theory,o diminished chord iso three-notet riod with o root, minor3 rd, ond flotted, or diminishedS, ih, Much more common in populorm usici st he diminished7 th cho?d,T hisis o four-notev ersionw ith o root,m inor3 rd,o nd flotted Sth ond 6th (correctlyc olled o double-flottedo r diminished7 th),A ll four noteso re evenlys poced,t hree holf steps( minor3 rd)o port, Becouseo ll fourt oneso re equollys poced,o ny note con be consideredt he root,
Thism eonst hot Bdim7,f or exomple,i so lsoD dim7,F dim7,q nd AbdimTT. hise xploinsw hy we con slideo fin- geringo f o diminished7 th chord up or down threef retso nd stille nd up with the somec hord,T heo nly thing thot chonges is the order or inverdon of the notes, not the notes themselves,
Thisd iminishedp rincipolw orksh ugelyi n our fovor when it comest o opplyingt he diminisheds cole.T he scolew orkse xoctlyl iket he dimTc hord on the guitorf ingerboordS, lidet he finge1ngp ottern up or down threef retso nd you get the somes cole,T heo nly differencei st he scole'sr qnge (highesto nd lowestn otes),
In oddition,s imilotro the diminishedc hord,o ny dimirlisniOs colec on hove four roots.T he imporfqnf lhing fo remember is thof fhe four roofs ore fhe uppel notes in ilre,trolf steps.
Example l5A
Let'sl ook of o C diminisheds cole,
Cdiminishedscqte:C D E F Gb Ab A B C
Slepsbelween: 1 j/2 1 112 1 j/2 I 1/2
Youc on see thot the scolef ollowso symmetricosl equenceo f olternotingw hole ond holf steps,B ecouse
of this,t he scoleh os multipler oots,B esidesb eing C, it'so lsoo n EbG, b,o nd A diminisheds cote,
Howt hisr eollyp oyso ff to improviserisst he foct thot everyd iminisheds equence,o rpeggio,l ick,o nd so on, con be ployed in four keys/positionosn the fingerboordo nd stillw ork over o given chord,T hise liminotes
the need to leornd iminishedli nesi n moret hon one position.

22. 22
Example l5B: Diminished Scale over Dominsn] Tths
In modern musics tylesd, ominontT thso re much more prominentt hon dimTthc hords.A nd in mony coses,
thesed ominontT thso re primep locesf or ust o uset he diminisheds cole,
Thereo re two woyst o locote the conect diminisheds colet o useo ver o dominont7 th,T het roditionql
opprooch ist o ploy o diminisheds coleo holf step obove the root of the domTthc hord:A bd iminished
scole tor G7 or C diminisheds cole for 87 ore o few exomples,M ony ployersr elqtet hot B7(b9i)s e ssentiolly
o CdimTc hord.T heyo lwoysk eep in mind thish olf-stepr elotionshipb etween o domT ond o dim7.
Simplefro r mony isw hot might be cdttedt he modol opprooch,J usts torto n the root of the domT ond ploy
o diminisheds colel eodingo ff with o holf step rothert hon o whole step,S omem usicionsc oll thism ode the
dominontd iminisheds cole,o s mentionede orlier,
Belowi so B dominontd iminisheds coles howingt he whole ond holf steps,T heg rophic includest he result-ing
87 chord tones ond olterotions,
B domlnont diminlshed scole: B C D Eb F Gb Ab A B
87 scqle tones: Root b9 f9 3rd b5 sth 6th b7 Root
Steps belween: | /2 1 112 1 1/2 1 112 I
Similotro the diminisheds cole,o ny dominontd iminisQehdo sf our possiblen omes,T hef our rootso re the
lowern otesi n the holf steps.S o,B dominontd iminishedis o lsoD , F,o nd Abd ominontd iminished,
Whicho f theset wo opproochesi sb est?l t's up to you. goth U.t the some resultsC, hooset he opprooch
thot helpsy ou quicklyl ocote the conect diminisheds cqlef or o domTth.l f it'se osiert o thinku p o holf step
ond grob the diminisheds cole,g o with thot. Buti f you would rotherh ove o scolet hot stortsr ighto ut on
the root of the chord, use the dominont diminished,

23. 23
h - M Example 16: Using ihe Diminished Scale in ii-V-l Progressions
l'm sureb y now you've testedt he soundo f the diminisheds coleo ver o dominont7 th,Y ou'vee ven
jommed over o domT vomp to proctice the scole,T hisis g reot, but proboblyt he best ploce to storto pplying
the diminisheds colei so vert he ii-V-pl rogressionA,s you moy olreodyk now,t he ii-V-pl rogressioins t he
moinstoyo f iozzs tondordso nd pop music,l t'so simplep rogressiotnh ot incorporoteso ne of the most
importonto nd essentiool spectso f music:t ensiono nd resolutionT, heV in the progressioins t he tension
chord leodingu sh ome to the I chord (resolutionT),h el l chord usuollyo cts os o set-upc hord workingw ith the V,
Belowi so ii-V-iln C, Suggesteds coleso rp shownb elow the stoff,
ii-V-Pl rogressioin C Mojor
Dm7 G7
D Dorion
(C mojo)
G dom/dim
(N diminished)
C mojor
Noticet hot the chordso re in theirb osic7 th form,T hisis h ow mostc hortsq nd foke bookso re written,T he
composerw illt ypicollyl eove it up to you to choosee xtendedo r olteredv oicingso f chords( Dm9,G .|3CI5),
Cmoi6l9,e tc,).T heo nlyt imesy ou'lll ikelys ee big scoryc hordsl iket hiso re on musicc hortst hot hove o spe-cific
orrongementw herec ertoino lteredo r extended.voicingosr e colled for.
: '
' .'
t r @ Example1 6A:i i-V-li n C PRACTICTER ACK
Puto n the CD ii-V-iln C ProcticeT rocko nd try out the diminisheds cqleo ver the V chord,b ut only over the
V chord,W hent he progressiorne ochest he l, Cmoj7,y ou need to switcht o the C scole.T ryt o moke the
scole chonges smooth without interruption,
Asf or os positionos n the fingerboordg o, o good stortingp loce iso roundt he 3rdf ret.T hinko f the common
G7 voicing ot the 3rd fret ond ploy the scole pottern there, You will olso need to know C mojor in thot qreo too,
Wheny ou've got thisp ositiond own o bit, slidet he diminishedp ottern up o minort hirdo nd proctice the
progressiotnh ere.L ocotet he C-mojors colet hereo lsot o remoini n thot positionO. ne secreti st o pretend
thot the Bb7o, I the 6th fret,i sG 7 ond referencet he diminisheds coleo ff of the Bb7,
Toket hisi deo o stepf urthero nd pretendt he Db7,o t the 9th fret,i so lsoG 7,T hisis o good thinkings ubstitute
becouseD b7i st he flot-fives ubstituteo f G7. Go up onotherm inor3 rd to the l2th fret ond pretend E7i so lsoG 7.

24. 24
@ Exampte t 7: ihV-l Lines with the Diminished Scale
Now for o few ii-V-li nesf eoturingt he diminisheds cole over the V, Mosto re rhythmicollys imple,w hich
mokest hem eosiert o leorn,O nce you get o few undery ourf ingerso nd in youre ors,y ou'll be oble to
moke them youro wn, Soon,y ou'llb e oble to moke slightr hythmicoml odificqtionso r odd voriouss tylistic
effects such os bends,h ommers,p ull-offso, nd sweeps,
Let'ss tortw ith o simplei i-V-li nei n G mojor.l t stortsw ith on Am9 orpeggiol eodingi nto on Ebd iminished
lineo ver the D7 resolvingto B,t he 3rd of Gmoj7.
Am7 GmojT
@ Example 18
Nexti so ii-V-li nei n C with two borso n eoch cl'iofd,T wob .orsg ivesy ou moret ime to develop on ideo on
eoch chord,O f course,y ou con hove the similorb enefitb y ployingp rogressionths ot chonge everyf our
beots or even every two beots if the tempo is slow enough,
Thef irstt wo borsi n thise xompled emonstroteo bebop lineo ver Dm7.T heA bd iminishedis p lqyed over G7
usingo few shopei deosr esolvingto Cmoj7.
CmojT
Dm7

25. @ Examptet9
Exomplel 9 iso notherl inei n c, thist ime using1 6thss, tortingi n o higherr egistert,h e firstp hrose l6th-notet ripletl icki n D minoro, ver the iso clqssic G7,o n Abd iminisheoo rpeggios equenceo scendsu p to o resolution on o high E.
Dm7 .1
@ Exampte2 0
Movingt o the key of D, thisl inef eoturesm ojort riodso ver the AZ,c reotingo n olteredd iminished Thet riodso re Ff mojoro nd Ebm ojor.( See sound, Unit9 on mojort riodsi n the diminisheds cole,)
@ Exampt2et
Exomple2 l iso voriotiono f o ii-V-pl rogressions,i milort o o turnoroundo, Vl7 iso dded to set up ond resolve bock to the ii' In thisc ose A7(b9f)o llowsC mojTo nd resolvesto Dm7,w hich isf ollowedb v G7 toking bock to cmojT' Thisp rogressioins i i-v-l-v|7A, typicolturnoround us exomple isl -Vl7-ii-Vs,o , the melodict inesi n this con be switchedo roundt o work over o turnoroundt oo,
A few stylistitcr ipletso re included,i nspiredb y ployerss ucho s pot Morlinoo nd Joe poss,o s well os severol clossicb op phroses,
Dm7 21 CmojT A7(be)

26. @ Exampte2 2
Anotherv ery importontp rogressiotno be fomiliorw ith ist he minori i-V-il,t workst he someo s o mojori i-V-l
os for os tension-resolutiogno es,e xcept the i iso minorc hord ond the ii iso m7(b5c) hord.T hem inorl l-V-li n
C minori sD m7(b5)-G7(b9)-CmTh7e, b 9o dded to the V in foke booksi so greot indicotoro f o minork ey,
Thei i or m7(b5i)s s ometimesre ferredt o os holf-diminishebde couset he firstt hree notesf orm o diminished
triod.A lthougho few others coleso re commonlyu sedo ver it (Ebm ojor,C hormonicm inor,o nd F melodic
minorf or Dm7(b5)t)h, e diminishedis o lsoo good choice, ForD m7(b5)u, seo D diminisheds cole.l t turnso ut thot D diminishedis t he someo s Ab$ iminishedw, hich ist he scole usedf or G7(bg)S, oy ou cqn uset he some
diminishesdc olef or the ll ond V in minor.
Thisp orticulorl icku seso n interestingcr isscrosfisn gerboords hopet hrought he firstt wo bors.T hed iminished
shope iss evenn otesl ong ond repeotsd own b5i ntervolsA, few libertiesw ere token to keep the shopes
eosiert o ploy.T hisr esultedin o few notesn ot in the Abd iminisheds cole( Ebo nd A in the second bor),T hey
don't seemt o conflictw ith the diminisheds oundo nd come off soundingl ikep ossingto nes,
Dm7(b5) G7(be)

27. Unit8 : Six-NoteD iminishedS hopes
Wg:BbDiminish onosix-noteshopes.|t,sogreotwoytoinventol|kinds
of unusuqdl iminishedid eoso nd isv erys imple,L ivingr itnin the bosicd iminisheds colep ottern (Exomple 3o) ore three six-notes hopes,E och shope isp loyed-on two odjocent strings-shope l: 6th ond Shope2 : 4tho nd 3rd stringso; nd Shope Sth strings; 3: 2nd ond lst stringsL. qcn shopei sf ingeredo nd ptoyed exocly lne some.
a
- - - ^ v^
v ^ v- ihape3 v ^v
x. v^ hme 2 O
!t v
v- v ^ X I $tra 1 v v v
@ Examples 24A-24F: Diminished shape Melodies
once you leorno nd understondth e shopes,c reote o melodyw ith the noteso f the firsts hope.T he doesn'tn ecessorilhyo ve to hove sixn otes,l t melody con hoy{ ostmonyo r ignt or more ond os few os three or four,T hen,ju str epeott he melodyi n eoch of the thrJe shopesr.
Hereo re o few diminisheds hopem elodiesl 've found to be ueryu setut.
Exomple2 4A Exomple2 4B
Exomple2 4D Exomple2 4E Exomple2 4F

28. 28

29. Unit9 : Mqior Triqdsi n the DiminishedS cole
A surprisinngu mbero f chordsc on be extroctedf rom the diminisheds cole,i ncludingm inor,m 7, dim7, dom7,o nd severolo lteredd ominontsd: omT(bs)d, omT(f9),o nd doml3(bg)t o nome o few, Developing linesb y combiningo rpeggiosf rom thesec hordso fferso lifetimeo f explorotionin diminisheds ounds,
Howevero. notherc hord,o lsof ound in the scole,s tondso ut for itss impleo nd pures ound-the mojort riod, Byo pplyingt he diminishedp rinciplew, e discovern ot one but four mojort riodsl ivingi n everyd iminished scole'T heyo re equollys poced minor3 rdso port, ond when combined,s omev eryc ool soundse merge,
@ Exampte 25:
Mqior Triod Posifions for Bb Diminished (A Dominont Diminished Scole Over A7
Creotingl inesw ith mojort riodsw ithint he diminisheds colei so fqvoritet echniqueo f conternporory)a zptoyeii.
Theb estw oy to unlockt he power of the mojort riodsi n diminishedis t o leornt heiro rpeggios hopesi n speci1c positionsA. nd sincem osto pplicotionso f diminishedli neso re over domT chords,t he pbsitionss houldb e bqsed on domT chordso s well,T hef ollowinge xomplei llustrotetsh e four mojort riod orpeggiosi n posi1on
surroundingo n A7 chord of the Sthf ret,T hem ojoro rpeggioso re A, C, Ebo, nd Ff,
A7 (A)
(Eo
Adding togethert he notesf rom eoch triod totols1 2p itches;h owever,lo set he duplicoteso nd the totol
becomese ight,t he exoct noteso f the diminisheds cole,
Shifto ll fourt riodsu p o minor3 rd ond somethingi nterestingo ccurs.T heyo ll reoppeor,ju sti n o different
order'T heA triod becomesC , C becomesE b,E bb ecomesF f,o nd F*i sn ow A. Thisp rocessc ontinuesu p onother minor 3rd ond so on,
Witht he triodsu ndery ourf ingerse, xperimentc ombinings hortp hrosesfr om eoch triod over o stqticA 7
vomp, Youm ight,f or exomple,p loy threeo r four notesf rom eoch triod,l t doesn't motter in whot ordery ou ploy the triodso r on which one you storto r end. Justk eep in mind the chord you ore ployingo ver,i n this cose A7.

30. 30
@ Example 26
Hereo re somee xomplel inesd emonstrotingth isc oncept. They'reo ll nototed in the some key becouseo f
the eose in which diminishedli nesc on be moved in minor3 rds,I n foct, ony diminishedid eo ployed on
three consecutivefr etsc oversq ll l2 keys,T hism eonso diminishedli nef or A7 ployed of the Sthf ret works
tor A7,C 7, Eb7o, nd Ff7 , Move the lineu p one fret ond it now worksf or Bb7C, i7, E7,q nd G7, Move it up
one more fret ond it now covers 87 , D7, F7, ond Ab7-oll l2 dominont 7ths,
A mojor C mojor Ebm ojor Ffm ojor A mojor C mojor Ebm ojor Film ojor
Thef irste xomplei sb uilto ff the triodsm ovingu p minor3 rdss tortingw ith A mojor,B ecouset here ore mony
possiblew oyst o ploy linesl iket his,i t'sc hollengingf or guitorp loyerst o find the bestf ingeringp ottern,T he
exomples howso ne thot worksf or me, I mighto f timeSh, owever,p loy everyt riod in thisl ineu singt he some
three-notes hopeo n two stringsF, ore xomple,t l'eiflrstA triod would be ployed the some,b ut the following
C triod would olso be fingered the some,s tortingo n the 3ru fret, Sths tring,f ollowed by the next two notes
on the 4th string2, nd ond Sthf rets,T hisr equiresq uite o bit of 'positions hiftingb ut often workso ut better in
mony situotions,
Somethingim portontt o remembero bout symmetricqlli nesi st hot you ore more likelyt o ploy shorters eg-mentsi
n reol-worlds oloing,M ony of the ideos( especiollyth e sequences)in thisb ook ore quite long,o ften
coverings everolo ctoves,T hey'reg reot for leorningt he fingerboordo nd buildingt echnique,b ut you prob-obly
wouldn'tw ont to ploy them in theire ntiretyi n on improviseds olo.
@ Example 27
Thisv oriqtiono f Exomple2 6 reonongest he triodsi nto o four-notep ickings equence,l t beginsw ith the 5th
of eoch triod followed by the root, 3rd. ond Sth ogoin,

31. @ Exampte2 8
Somer hythmicv oriotioni sq dded to the nextt riod linet o demonstrqteo ne of thousondso f possibilities, Rhythmicopl hrosingw, hen introducedt o symmetricosl cole melodieso nd sequencesc, on reollyb reoth lifei nto theirs ometimesp redictobleo nd mechonicols ound,
Thel ines tortsw ith on A-mojort riod ond then jumpsu p to the F$T, hes ome phrosei sr epeotedw ith the next two triods.E bo nd C, TheA -to-Ebtr iod phrosei st hen ployed ogoin, on octove higher,b efore o btuesye nding.
@ Exampte 29
Exomple2 9 looksl ikeo workouto f first,b ut once you understondth e formulo,i t'so bit eosierA, goin,A , C, Ebo, nd Fft riqdso re usedf or thisA dominontd iminishedli n0.T hel inei so 9-notes equencet hot isr epeoted up minor3 rd intervolsB. ut,u nliket he previouse xqmpl6st,h e trigds.orep loyed in differenti nversions,
Followingo n A-mojort riod in root positiono, n Filt riod isp loyed stortingo n its3 rd,t hen Sth,o nd root.T heE b triod beginso n the Stht o the root ond 3rd leodingi nto o C-mojort rioOi n root positionT. hisc omptetest he bosic sequence
Nowt he entirel inei sr epeotedo minor3 rdh ighero nd so on, Fingeringcso n be chollengingb, ut I think you'llf ind it'sw ortht he efforft o workt hem out, Thiss equenceo fferss omev ery cool melodicp ossibilities.
A7

32. @l Exampte3 0
Exomple3 0 opproochest he triodso bit differenflyD, escendingw ith on A-mojort riod,t he line moves to on
Filt riod,f ollowedb y Ebo nd c triods,w hen the lineo scendsi n the secondb or,t he sequence is inverted'
Thisli nei nvitess lideso r hommer-onsin severolp loces,A lsot ry it os 8th-o r l6th-notet riplets' lt olso mokes o
good technique exercise when repeoted severol times, Add the very lost E note os o pickup to stort out if
you like.
@ Example 3l
Jozzg reotsJ ohnc ottrono nd chickc oreo,o mongo thersh, ovee xploredth e diminishesdc ole through
triods hopesT. hen exte xompled emonslrotes.o;torloeritg ht-notes equenceu singm inor7 tho rpeggios
mixedw ithm ojort riodsT, hem inor7 tho rpeggibdc on osg 5e thoughto fcs fourn oteso f q minor pentotonic
witht he b3o n top, (Fore xompleG: , Bbc, , ono Ebo ref romi-minorp entotonic5, -b7-root-bT3h')is line is
locotedi n o higherfi ngerboorpdo sitionb ecouseit ise osietro ployi n o descendingh orizontolfoshion'
@ Exampte 32
Usingth e concepr frornt he previouse xomple,t he next lick useso bit of rhythmo nd o posing note (F noturo
in the firstb or) to odd more musicolityT, hee ight-notes equencei so lsob rokenu p to moke it sound less
oredictoble.

33. @ Exampte3 3
Minor7 th orpeggiosc on olsob e thoughto f os mojort riodsw ith on odded 6th tone.A nd in everyd iminished scolet here ore olsof our minorz th orpeggioss, poced minor3 rdso port.
Here'os l ineu singt he four minor7 th orpeggiosi n the Bbd iminisheds cole( Am7, cm7, Ebm7o,n d c$m7), Thisis o notherl inet hot's o good technicole xercisew hen repeoted mony times,U set he losth igh C# pickupt o the beginning, os o
@ Exampte 34
Thef inolt riodicd iminishedli ned emonstrotesc ombiningt riodsw ith on unequolo mount of notes.T his mokest he lines oundm ore interestingo nd unpredictoble.lt 'so l6-note sequencet hot isr epeoted up flot Sthi ntervqlsT' hee ntiret hree-borl inei so tremendousfi ngeringo nd pickinge xerciseb, ut you might 1nd the lost bor o very usoble lick,
,- |
s
A four-noteA -mojort riod beginst he linef ollowedb y onlyt hr rtoteso f on F*t riod ending on BbT, hisB b becomest he Sthd egree of on Ebt riod ond isf ollowedb y the root ond 3rd,T henc omeso four-note,r oot- positionC -mojort riod,T hes equencei sc ompletedw ith o descendingA -mojort riod,T hee ntirel inei s repeoteds tortingo n Ebo nd ogoin on now A on octove higher.
Theb est-kepts ecreto bout diminishedli ness, ucho s the exomplesc overeds o for,i sh ow one linec on become four uniquel ines.F ori nstonce,if we ore soloingo ver A7 ond ploy triod Exomple2 g moved up o minor3 rd (or bsiho r 6th),i t tokeso n o differents oundf rom the originoil ocotion,A tthoughi i,ss tilli n the Bb diminisheds cole,d ifferentn oteso re occented, givingi t o similorb ut differentf eel.T hisii greot newsw hen you're tryingt o get the mosto ut of linesy ou leorn,S o,i f you get bored with one of yourJ minishedl ines, move it to onother locotion olong the minor 3rd cycle, lt just might sound better thon ever,

34. UNIT| 0: Usi he DiminishedS cqleOver Siqlic Ghords
Byt he eorry. r970fsu sion, or jozz+ocke, mergedf rom the worrdo f ioz., combining the soundso nd instru-mentotiono
f rock with the hormonyo nd improvisingso phisticotioonf jozz,T roditionoljozszt ondordsg ove
woy to new formso f compositiontsh ot reriedm ore on rhythm,g rooves,o nd modor or stotic hormonies'
Jozzp royersq uicklyo dopted to the new musicb y usingp roun-irprovising concepts in new ond unique
woys.T hisn ew opprooch to rock mode it eosiert o usethetr oditionool ltered scoless ucho s diminished'
whole-tone,o nd melodicm inori n plocesc onsideredw rong only o decode before'
ln thiss ectionw e.ll leorns omed iminisheds colel ineso ver stoticc hords'A stotic domT is the obvious stort-ing
proce;h owever;o few exompresd emonstroted iminishedo ver m7, m7(b5)o, nd domT(f9)'
rt,si mportontt o remembert hot q stoticc hord rikec 7, for exompre,b erongs to o lorge fomily of extended
dominontsC. hordss uchq s C9, Cl l' Cl3' CTsuso' nd Bb/Co re extended versionso f C7' And for soloingt' tn
scole choices for oll of these ore the some'
@ Example 35
Anotheri .ponoriiote: Good soloing,u singt he diminisheds cole over stotic chords'i so n exercisei n proper
phrosingT. om oke the scores oundr ilnt, you need to weove in ond out of the scqle,o lternotingi t with tfp
home scole,l f you justp loy the diminisheds colet he entiret ime,y ours olo willl ikelys oundt oo outsideo nd
nonsensicoAl, stoticc 7 bluesr icrst ortso tr inir qecilrn. lt combinest he c blues scole ond the c dominont
diminishesdc ole. 3 L
@ Exsmple 36
we,ll odd o few bendst o the nexts totice xomple,c reotingo notherb luesyd iminished lick for c7' To hove
on effectivei mpoct,t hisl icks houldb e set up with on insid6b lueso r iozzphrose using o c blues or o c
Mixolydionsc ole'

35. Minor
Then extt wo diminishedli neso re over o stoticm 7.A pplyingt he diminisheds colet hisw oy isd efinitelyo technique reservedf or iozzsituotionsT, hee xompleso lso demonstrotet wo differento pprooches to super- imposingt he diminishedo ver m7 chords,
@ Exampte3 7
Thise xomples howso moret roditionool pprooch. Joz.ployersf ound thot they could creote tensiono nd resolutiono ver o singlec hord by occosionollyh intingo f itsV , An exomplei sw hen soloingo ver Cm7, ploy
shortG 7 phrosesth ot resolveb ock to Cm7 even though the occomponistc ontinuest o ptoy Cm7,W ell- ploced G7 ideosc on odd significontlyto o solo,T heseG 7 ideosc on be impliedw ith severols coles,i ncluding diminishedo nd whole-tone,
Exomple3 7 iso two-bor line with the firstl ine o jozz phrosef or Cm7, Thes econd bor twistsi nto o few mojor triodsf rom the Abd iminisheds coleb eforer esolvingb ock to cm7,
Cm7 (G70e)
@ Example 38
Creotingm ore of o modern,o utsides ound,t he next lineo ver Cm7 useso Dbd iminisheds colei n the sec- ond ond thirdb ors'I n thiso pprooch,t he Cm7 ist reoted similorltyo o C7 by the useo f the some diminished scole,( ForC m7 useC dominontd iminishedo r Dbd iminished,T) okec ore not to overemphosizteh e E notes (mojor 3rd) over the Cm7,
Cm7

36. Minor 7(b5)
Unusuobl ut stilwl orth consideringis o stoticm 7(b5)B, ecquseo f itsd iminishedp roperliest.h e m7(b5)is o noturoll ocotionf or the diminisheds cole.T hinko f it os the sqme os o dimTo nd locote the diminisheds cole righto ff of itsr oot (Em7(b5u),s eE diminisheds cole),
@ txampte 39
Thel icks torlsw ith on Em7(b5o)r peggioo nd chongest o E diminishedle odingi nto the second bor,T heno bosicd iminisheds equenced escendsb ock down to the chord'sr oot,
Thisli nec on qlsob e ployed over C7, Em7(b5q)n d C7 ore both in the key of F mojor,E m7(bSc)o n olsob e
thoughto f os o substitutefo r C9,
r DominqnfT(tg :'
TPhuedr polme inont7 ($9i)s o ne of the only olteredd ominontst hot [ .ito usedi n stotics ituqtionsF. romH endrix's Hozet o numerousb lueso nd funkt unes,t he domT(*9)le ndsi tselfw ellt o the diminisheds cole,T he
chord hos both o mojoro nd minor3 rd (il9)t hot iso lsor eflectedi n the scole.
@ Example 4O
Thisli cku seso five-noteD bd iminisheds hopeo lternotingw ith o C-minorp entotonics cole,
c7($e)

37. TheW hole-TonSe cqle
UNITI l: Fin s of lhe Whole-ToneS cqle
!et's storto ut by leorningo good fingeringf or the whole-tones cole, Onlyo ne pottern?,y, ou moy osk, Justo s with the diminisheds cole,i t'so nly procticolt o leorno ne movoblep ottern,l f you olreodyk now o 'ngering or two, stickw ith them or feel free to modifyt hisp otternt o suity ourt echniqueo nd styte. gool ist o be oble to ploy the Theu ltimote whole-tone scqle onywhere on the guitor in ony key,
Thisis o n especiollye osyt oskf or tne wnlle-tone scqles incep otternsr epeot up or down the fingerboord every two frets,R emember,o ny note in the scole con be the root, so thisp ottern isn ot only on A whole- tone but olsot he B,C $,D f, F,o nd G whole_tones coles,
@ Example4 t A: pATTER#Nl
Thisp otterng ivesy ou o ronge of two ond one-thirdo ctoveso nd usest hree-note-per-strinmgo veso n the 6th,4 th,o nd lst stringsT' hesec on be o bit of o stretchi f you're not usedt o them, especiollyt owero n the fingerboord,M ostp loyers( includingm e) uset heir lst, 3rd,o nd 4th fingersh; owever,s omeu set heir lst, 2nd, ond 4th.
A good pickingp ottern for thiss cole ist o useo lternotiqgp rickings tortingw ith o downstrokeo n the firstl ow A, . . ,
A Whole-TonSe cole
v ^ v ^ v
tt ^ tt ^
x v ,R, v
x v ^ v - v
A ^ ^

38. Ex 4tB: PATilEP#N2 : fhe SPeed Version
Byr emovingth e bottomo nd top notesf romt he firstp ottern,w e hove o streomlinevde rsionth ot, in mony
instoncesm, oyb e moreu sefulY, oue nd up witho nlyo net hree-note-per-strminogv e( 4ths tring)o, nd the
pottern loysn ice in one positionl.t 'ss tilltheA whole-tones cole,b ut it's proboblye osiert o thinko f it os the
B whole-tone scole,
BW hole-TonSe cole
How to Leqrno nd Prqctice the Whole-ToneS cqle
@ tz ppncnce rRncrc
Here,so n A7 grooveo n the CD to ploy olong with,A s I hove mentionedb efore,i t isi mportontt o heor,
rightf rom the-beginningh, ow o scolew orksm usicollyA. s you proboblyf iguredo ut by now, the whole'tone
sCole,li ket he diminishedi,s p rimorilyp loyed over o dominont7 th chord.A lthoughi tsm ore common usoge
iso ver o functioningd ominont7 th,i t iss tillo greot ideo to procticet he scqleo ver o stoticd ominont7 th
chord vomp.
One greot thing obout the whole-tonei st hot you con simplys lidet he pottern up or down two frets'T he
scole will stillb e in the some key; only the ronge (lowesto nd highestp ossiblen otes)w ill chonge, So,w hile
leorningt he pottern overt he A7 vomp, move it to other locotionso n the neck.J ustv isuolizeo nd uset he
roots, locoted every other fret, on the low E string os o guide'

39. 39
Addilionql Whole-ToneP qfrerns
Hereo re two more populorp otlernsf or the whole-tones cole- two-note-o nd three-note-per-strinvegr sions,
@ Example4 t c: Two-Note-Per$tringP attern( c whote-Tonet
Thise xomplei su nusuqiln thot when oscending,i t movesd own the fingerboord.lt 'se osyt o ploy becouse
thereo re onlyt wo notesp loyed on everys tring,I usem y lst ond 4th fingersb, ut you moy feel more com-fortobleu
singy our 1sto nd 3rdf ingersin steod,
v ^ v
vA
-^
v ^ 5
v -
^
v
A 7 ^
Example4 l D: Three-Note-Per-SlrinPga ltern (G Whole-Tone)
When mostg uitorp loyerss tudyt he whole-tones cqle,t hey inevitoblys pendt ime on the horizontotlh ree-note-
per-strinpgo ttern.G ood for long runso nd chonging positionst,h e pottern ist wo whole stepsp er
stringm ovingu p b5i ntervolsM, ostp loyersu set heir lst, 3rd,o nd 4th fingersb, ut ogoin, lst, 2nd, ond 4th
might be betterf or you, Tok eep your ploce when crossingth e fingerboordt,r y wotchingy ourf irstf ingero s
o guide os it movesu p or down b5i ntervolsl,f you'rej ustg ettingy ourf eet wet with the whole-tones cole,
woit o few months before tockling this one.
A
v ^ v ^ -
^ v^ v^ 5
,q v q v e v
^ v ^ v ^ v
A
v ^ ^ v

40. Ex 4l E: Five-Nole Whole-fone Pollern
There'so ne more pottern I wont to showy ou, similort o the six-notes hopesw e ployed with the diminished
lo?ni t3h.eii tih::r:e,yes i:tr,:in_gst e:t:s 6: -5v,4 ;-l3s,oi onnrd: .l2tl-?1W.,: oe.c eo nc ionnvecnetmp tet,l' osod rieivwse it-hninotw hreeh sohtoep-eroso snnhdeo perh oris p toyed or downt o the nexts trings et,T hep ottern oroi'lii;:y,i;o isv erys imilotro the firsst howne orlie(rE xompl4el o) witht he exceptiono f threen otesr otherth ont wo ployedo n the 2nds tringo, nly two noteso rep loyedo n the 1sts trirg.
- v ^ !t ^ v^
v- v O e v x v q
v ^ - v
^ v ^ ^

41. UNIT1 2=W hole-TonSe cqleS equences
@ Exomple 42
Hereo re o few usefuwl hole-tones equencesT, hisfi rsto ne isf or the A whole-tones coleo nd usest he com-mon
I 234-2g45e,t c., sequence.P rocticei t slowlyo nd in time (with o metronomeo r click) of first,L ookf or
difficulto reose itheri n pickingo r fingeringt;h en isoloteo nd emphosizeth oses ectionsM, oke up o short
exercisew ith thiss ection( moybe 8 to l6 notesl ong)o nd repeot it severotl imesu ntily ou get it down.

42. @ Example 43A
Then exts equencei sb uiltw ith mojor3 rd intervolsm ovingi n o porollelf oshionu p the A whole-tones cole.
In reol-worldim provisingy,o u would proboblyn everp loy o long sequencel iket hise xomple,l t's preferoble
to uses horters egmentsc onnected to onotherm elodici deo. Butl eorno nd proctice it in itse ntiref orm to
help build up your technique,
Example 438
Here'sth e some3 rdss equenced escending.
@ example 44
How obout one of thosec lossics oxophonew hole-toner iffsT. hinko f thiss equenceo s o four-notem elody
repeoting down in descending 3rds,

43. @ Exom ple 45
*ere iso n unusuosl even-notes equenceo longt he lineso f John Mcloughlino nd Al DiMeoloO, dd-numbered
sequencesc on soundv ery cool becousei t'sh ord for the listenetro detect obviousn ote groups,
@ Exompte 45
I uset hisn exts equencew ith everys coleI know,l t'so littlec hollengingt o ploy but well worlh the effort
leorningi t. lt's o six-notem elodyt hqt isr epeoted down b5i ntervolsl,' ve includedt he fingeringso n thiso ne
to help you work it out, Sequencesli ket hiso ne with five-o r six-notep hrosess oundm ore interesting
becousei t'sd ifficultf or the listenetro trock the repeotingp ottern,C heck it out over Bb7b, ut remember
thot every note in the sequence con be the root of o dom7, which it will olso work over,
@ Example 47
Bosedo n the previouse xomple,t hisi so ten-notem elodyr epeoted q 9th intervolb elow,Y ouc on see thqt
it'st he somef irsts ixn otes( stortingo n B thist ime) with four descendings colet ones,l t mokeso n interesting
linef or 87.E veryw hole-tonem elodyc on become o sequencew hen repeoted in onotherl ocotioni n the
scole.

44. UNITI 3: Whole-ToneA rpeggios
Theo ne troditionool rpeggiot hot bestr eflectst he whole-tones oundi st he ougmentedo rpeggio' lt'so lso
symmetricoiln thot it isb uiltw ith mojor3 rdso ne on top of onother,W henc ompored to the whole-tone,t he
ougmented orpeggios oundse veryo ther note, Belowi so good fingeringp otternf or the ougmented
orpeggio,T hem ostc hollengingp ort might be borringw ith ihe 2nd fingero n the 2nd ond 3rd strings.
Althoughi t'sp ossibleto ploy theset rio notesw ith seporotef ingerst,r y to do it borringt he two stringss ince
thist echniquew illb e extremelyu sefuli n the future,
Youm ightf ind it helpfult o leornt hiso rpeggioi n two ports:P loyt he firstf our noteso ver o few timeso nd
then work on the higherf our-noteg roup.O nce you get them down, connect them togethert o creqte one
smootho rpeggio.A lternote-pickth e notest o get it cleon beforey ou venturei nto the lond of sweeps
with this orpeggio.
g 2 i 4 2 2 1 . , -
' 4 I 2 2 4
o r 1
v ^- ^
^ 5 A o
v ^ v
tt
A
Example 488: WholeSlep
Asw e justl eorned,t he ougmentedo rpeggioo utlinese veryo ther note in the whole-tones cole.T op loy the
notesl efi out in the scole,s implys lidet he orpeggio up or down o whole step,T hism eonst hot two ougmented
orpeggios,o whole step oport,f orm the noteso f the whole-tones cole,P loyersh ove picked up on thisf or
yeors,c ombiningt he two orpeggiost o creote mony interestingo ugmented/whole-tones oundsT. hef ollowirp
linei so two-octoveo rpeggiot hot isC oug for the firstf our notes,s witchingto Doug (or Bbougf)o r the top
four.l t'si mportontt o remembert hot, liket he whole-tones cole,o ny note in on ougmentedo rpeggioc on
be consideredt he root,
v ^ v
v^
^ 5 A o
v ^ v
v
A

45. Example 48C: C Whole-Tone
Here'sw hot I collthe Whole-TonAer peggiob y combiningt he two ougmentedo rpeggiosw itht he scole.
Cneck it out,
^ v ^ v
v^ v
5 ^ /^
^ v ^ v
v
A
-
Example 48D: Bb(bi) Augmented Arpeggio
Thisn exto rpeggioi sb uiltw ith b5i ntervolsl,t might lookf omiliorb ecousew e olreodyl eornedi t os o dimin-ishedo
rpeggio,C oincidentlyi,t 'so lsoo n ougmented orpeggiow ith everyo thern ote omitted,W itho nly
one note per string,it 'so bit tough to ploy,T hes ecreti st o fingeri t l-2-3-l-3-4,
r i ? ' E
A -
v
A U
^ v
A
v
Example 48E: l-3-b5 C Augmenled Arpeggio
Herei so notherw hole-toneo rpeggio usingt hree notesp er octove, Builtu singt he root,3 rd,o nd b5,i t'sf ingered
in on unusuoflo shiont o keep it in o verticolf our-freto reo.
v v
^ ^ O
5 v
^ -
^ v

46. UNIT1 4=U sin the Whole-ToneS cqle
Applicotionso f the whole-tones coleso re similotro thoseo f the diminisheds cole,T ypicollytr eoted os on oltereds cole,t he whole-tones peokso verys pecifics ound,S omes oy it soundsu nsetling,o dd, or even spookyw hileo therst hinki t hoso moderno utsides ound,M osto gree it does not soundv ery reloxedo r homey ond shouldb e reservedfo r verys pecifics ituotionsA. nd thoses ituotionso re over dominont7 th chords.
Tor eollyu nderstondth e whole-tone'sp otentiol,y ou need to understondit sm okeupo nd how it compores to o dominont7 th,W e discussede orlierf unctioningo nd stoticd ominontso nd showedo comporisono f tfx whole-tonet o o dominqnt7 th chord (Unit2 ),Y ouc on see thot the scolec reotest he root,2 nd, 3rd,b sth, $Stho, nd bTtho f o dominontc hord.M ostm usiciqnsk now thot becouseo f the olteredS thst,h isl eonst he sound,c reoted by thiss cole,i n on ougmentedd irection.T hisd oesn't meon thot you con ontyp loy the whole-toneo ver ougmented,D omT(bs)o,r *5 chords,l t is,h owever,o good thing to keep in mind,
Exomple 49: Whole-Tonein ii-Vl progressions
tt,'gtsroldfriendthemojorii-V-|progression.Returntotheii-V-|inC
ProcticeT rockf lrock 18)o nd try out the whole-toneo ver the V chord,b ut rememb er-only over the V chordlWhent he progressiorne solvesto the lchord. Cmoj7,y ou olson eed to resolveto the C scole.S tort out ployingn onstope ven 8th notesu ntily ou con moke the scolec hongess moothw ithouti nterruptionI.h i willf orce you to preporeo heod for scolec honges,T heg ood newso bout the whole-tonei st hot itss ingle pottern iso lwoysw ithiny our reoch. ForG 7,v isuolizgo ll the whole steps( stortingo t the 1stf ret) olong the low E string,E ocho ne of thesen otesi so root.chOi torting ploce for the pottern,
9 Exampte5 0:i hv4 Linesw ith the whote-Tones cale
Aftery ou hove spents omet ime procticingw ith the ii-V-pl rocticet rock,s tortm emorizingo nd odding the followinge xomplesM, osto re rhythmicollys impleo nd eosyt o leorn,W heny ou get one down, ploy it olong with the trock until you're comfortoble with the chonges,
Followingth e Dm7l ine,w hich includeso few chromoticp ossingn otes,i so stroighto scendingG (or B) whole-tones coleo ver the G7 thot resolvews ith o C-mojors colep olern over Cmoj7,
Dm7 G7
CmojT

47. @ exampte5 l
Then exte xompled oublesu p with l6th notesf or onotheri i-V-iln C, We'reo lsom ovingd own to o lowerf in-gerboord
positiono round the 3rd to Sthf ret oreo. A troditionoljozz-stylme elody stortso ver the Dm7,s etting-up
the big whole-tone lick in the second bor, Although the lost note in the bor (G$) is not in the G whole-tone
scole,i t serveso s o leodingt one to the Stho f CmojT( G) in the lostb or,
Dm7
@ Exom pte 52
Thisii -V-li nei n Bbb eginsw ith o Pot Mortino-inspireCdm 7 lineo nd then movesi nto o descendingw hole-tone/
ougmentedl ineo vert he F7t hot resolvetso the rooto f BbmojTlt. hoss everocl onsecutives tring-ougmented
ond mojor7 th orpeggiosw, hich con be chollengingt o pick,
Cm7

48. /t8
@ Exom ple 53
Thisfi nole xompled emonstroteus singc hromoticp ossingn otesb etweens colet onest o give o bebop flovor
to the line,I olsoi ncludedo few rhythmsto breoku p the linet o moke it more musicolT. hep ossingn otesi n
the whole-tone( D7)o re ploced oftert he C, Gf, E,o nd lowerC , lf you triedt o odd possingn otesb etween
every scole tone, you might lose the whole-tone sound, ending up with nothing more thon o chromotic scole.
Am7

49. Usingf he Whole-ToneO ver the ll7
Anotherp opulorl ocotionf or usingt he whole-tonei so ver the ll7,T hel l7i so veryc ommon chord usedi n hundredso f ioz., bosson ovo,o nd pop tunes,T uness ucho s TheG irlF roml ponemq ond .-Toketh e A Troinu seo ll7o s o primoryc hord in the progressionc.o lled o secondoryd ominont,t he ll7i so ii (minor7 th) chonged to dominont.I n mony instoncesi,t doesn't resolvein the somew oy os o V chord but iss tillo con- didote for on oltereds coles ucho s whole-tone,I n foct, the whole-toneo nd melodicm inor( up o Sth)o re the two scoles of choice for the ll7,
@ Example 54: II7 progression proctice Trock
Here'os s horte ight-borp rogresionf eoturingt he ll7i n bors3 ond 4,I've olsoi ncludedo flot-fives ubstitute (Db705f)o r G7)i n bor 8. Alsos howno re s0ggesteds coles.
TheC D procticet rock for thisp rogressioins o bosson ovo feel in o mediumt empo, Don't feet obligotedt o ploy the whole-tonef or the entireb or (or two). Youc on switchb etweent he bosics coleo nd whole-tonei f you like.F ore xomple:f or D7,u see itherD whole-toneo r D Mixolydion(G mojor),
D7
il7
D whole-tone
D Dorion (C moj) G Mixolydion (C moj)
G whole-tone
C mojor Db whole-tone
= l v
C mojor scole

50. @ Exampte5 5:I I7 ProgressionS olo* l
Now for o few exompleso f soloso ver the ll7p rogressionA.g oin,j usts tortw ith eosyr hythmsw hilep locing
more emphosiso n the melody.l 've includeds omef ovoritem elodici deoso nd o few intervollicli cksn ot
only for the whole-tone but olso over the mojT ond m7 scoles.
Thef irsto ne wos writienu singe osy-going8 th noteso nd hoss everolc lossicjo z motifs.
CmojT

51. @ Exomple 56:I I7 ProgressionS olo* 2
Nexti so more oggressiveo nd chollengingl 6th-notes oloo ver the some progressiond,e monstrotingth e
useo f the somes equencew ith differents coles,T heo peningC mojTr iffi sb osed on o six-notes equence
olong with o few vqriotionsT, hes equencei sr epeoted in bor 3 (beot 2) with the D whole-tone,B ors5
through7 feotureo ii-V-li nei n C thot includeso n interestingw hole-tonel ineo vert he G7, lt'so G whole-tone
ployed with olternoting4 th intervolso bove eoch scolet one. Thel iner etoinso whole-tonef lovore ven
though the upper intervqlso re out of the scole,I n foct, these upper intervolsfo rm the other (Gfi)w hole-tone
scole,l t could even be lobeledo chromotics coles inceo ll l2 toneso s sounded.T hes olof inishesw ith o
whole-tone line, which is mode up of ougmented triods moving up b5 intervols.
CmojT
Dm7

52. UNIT| 5: ModernU seso f the Whole-Tone-SlqlicC hords
Let'se xploret he useo f whole-tonei n o few contempororys ituqtionsW, henu sedi n o modernj oz. ond fusions tyle,t he whole-tonei ss ometimesp loyed over stoticc hords,S toticd ominontp rogressionsst ondo ut os o poputor context for opplying the scole.
whole-tones oundsc on be slightlyh intedo f or highlye mphosizedin o solo.A goin,o n importonto spect to consideri st he styleo f musicy ou ore ploying,D on't try to ploy o hip whole-tonel icki n the middle of o tro- ditionolb luess oloj ustb ecousey ou hoppen to be on yourf ovorited ominontc hord.A lso,w ith thisi deo, foke core not to folselys ignolo resolutionto onotherc hord (A7 resolvingto D, for exomple),
@ Exampte5 7
Thef irste xomplei so nice littles wing/bebopl inef or o stqtic Bb7.ldt emonstrotesh in1ngo t the whole-tone for effect (secondb or)'Theli net hen flowsb ock into o simpleB b7s oundingi deo in the thirdb or to finisht he lick.
@ exampte 58
The next exomple is o bosic whole-tone sequence,
it works well over o stotic A7.
but sincet he notureo f it emphosizetsh e 3rd ond b7th.

53. @ Exampte5 9
Here'so hip litflel ineg ood for eithero stotico r functioningA Z, lt combinest he whole-tone ougmenteds hopes. with o few
@ Exampte6 0
only in o jozz-siyleb luesg roovec on you get owoy with o lickl iket hisn exte xomple,s torting opening linef or C7,w e switcht o o whole-tonep hrose with o btuesy in the second bor.

54. UNIT| 6: The
tboqtd - symmetricqsl cqlesG eomefricp lovoro
Theg uitorf ingerboordi so mogic ploce when it comest o loid out symmetricolscolesB,in itso wn e symmetricolformi,couset he fingerboordi t 'so s noturolb reedingp loce diminishedo for on nd whole-tones unlimitedo mount of coless' ideosw ith hortm thr elodiesc on be inventedo ber nd of intervollicd moved ond irectionsf,repeoted in o rmingl ony ong num interestingli nesV, isuosl hopesc on olsob e explored.
As for os the whole-tones coleg oes,i t's importontt o visuolizeo nd ent withint leornt he he voriousin scole'W hole-stepsm, tervolsth ot ore pres- ojor3 rds,f lot Sthso, tone ugmentedS thso, scole'B nd elowi m7thsc so fingerboorQg ompriset he rophics whole- howingt he intervolsb beginningo uiltf rom the n root A.
in o whote-tones cole @ Exampte6 tA
whot's interestingis t he foct thqt no motterw hot note in the scoley ou the intervolsu storto n, you p or down con stillp loy from thot ony note of ond stillr emoini n the whole-need tones to cole.( Don't moke the propero forgett hot guitorist djustmentsto the intervolsw hen (E) usingt he 2nd (B)lsi due to s the tringo tuning nd difference,)
subsequenfttyh e Example 6l B: Wholefone tnterval Study
Here'so littlee xercise/lictko help you leornt he intervolsA, good gool ist o leornt hise xercisew ith the
Ii:t :c:o:Tn o1ls':o:b tje: :p::loYy:ei]dP ojnll onlyt wo siltlr!i9n:g sflso r i on ff finregee xr-osmtreptcroheoi nowguo k.lbe -uutpo e rxseoor cnir shee,3 rd4, rho, ndS rhs trinss

55. Anotherc ool coincidencer egordingt he whole-tone'sin tervolsis t hot you con stockt hem. Fore xomple,i f
you ployed o stocko f severolm ojor3 rd intervolso, ne on top of the other,t he notesw ould stills toyw ithin
the scole.( l-hisw ould octuollyb e the ougmentedo rpeggiow e leornede orlier,l)f we stockedb 5i ntervols
or ougmentedS thsw, e would get the some resulto: ll notesw ills tillb e in the scole.W hot would hoppen if
we stockeds everolm ojor2 nd intervols?W e'd end up with the whole-tones cole,o f course!
One very importontt hing obout intervolsto remember-they ore music'sv ersiono f meosurementosn d ore
the somed escendingo s oscending,T hes hopess toye xoctlyt he some,A n ougmentedS tho bove C, for
exomple, is Gil, but on ougmented Sth below C is E. Or o mojor 3rd obove A is C* while o mojor 3rd below
A isF ,O nlyt he b5i ntervolw, hich ist he obsolutem idpointo f qn octove, producest he some note either
obove or below o givent one. A bstho bove ond below D ore both Ab,B es urey ou understondth e work-ingso
f intervolso nd how they loy on the fingerboord.
!hot doeso ll of thish ove to do with improvisingw ith the whole-tones cole?S HAPESBIe couseo f the finger-bcord'sv
isuolg eometry,g uitorp loyersc on inventm elodyl inesw ith thiss colet hot no otheri nstrumentolist
v, ould ever think of,
Example6 l C: Whole-ToneF ingerboard
Lookq t the weird-lookingfi ngerboordg rophic below, lt'st he entiref ingerboords howingt he whole-tone
sccle on everyf ret,e verys tringJ, ustl ooko f the numbero f geometrics hopesy ou con spot righto woy,
Locko f it in termso f chordso s well os single-noteid eos,
A tot of good ployersh ove come up with uniquei deosl ookingo f the fingerboordt hisw oy, They'vef ound
unusuohl ormonizedc hord voicingso, rpeggios,o nd o weolth of single-noteid eos.T ryi t yourselfJ, ustt oke o
pencilo nd circles omes hopeso r potterns,T henp loy them.
One potternt hot jumped out ot me when studyingt hisw hole-tonef ingerboordi st he mony X shopes.I
workedo ut severol inesb y ployingt he X'so nd movingt hem oroundt he fingerboord.

56. 56
P Exampte6 2A: Three$triWpne X Shape Then ext _string X shope,
ne X Shope Or how obout o four-strinug
@ Exampte 63
Nexto res omeo f myf ovoriteli nesu singth eseX shopesU, singth e somes ix-notXe shopeo sE xompel 62A, lmfil:?nj,ffJ:H::#Tl:%ffi,m:ri#;;rx'o'J',.Jojoonr3cvreod ruse orchhre o p

57. @ Exompte 64
riis one iso n eight-noteX shopet hot iso lsor epeoted up mojor 3egin 3rds.l t requireso trickyp ickingp ottern, with on upstrokeo n the firstn ote ond olternote-pickth e followings evenn otes.T hisc ompleteso ne s^ope' Beforem ovingo n, procticet hisf irste ight-notep otterns everotl imest o get the pickingd own,
@ Cxompte0 5
--s'to see if we con octuollyp loy it, here'sq four-strinXg -shopel ine,l t'sd ifficultt o pick due to the ropid s'9 chongeso nd tough on the left hond becouseo f the stretchesB, utg o for it onywoyl

58. Here'so quick story:I showedo similowr hole-toneg rophic we were workingo n whole-tone fingerboordt o o studento f GITo ne doy when ideos,T hes tudent-tooko ne l6oko f tfre neck ond soid,. .cooll,, diotelyp loyed the nexte xomplew ithoutm issingo note, Hej ust ond imme- woso mozed. wotched the neck diogrom ond ployed. I
rPh is|Einxeai'm'iperreb6 o6o:r dG.SetoomrtweittrhictFh e wFhtooGroen-tfhoene$ uper-Lick
5th stringt' he Ebt of on the 4th stringo, nd then the F to :ne somew ith the 5th' 3rd, oon the lst itring.T henm ove up o fret qnd do ond 2nd stringsN, ow move up onotherf ret ond ploy the some sequenceo goin' lt'so greot string-skippinegx erciseY, ou l2-note or look bock ot the neck con eitherl eorni t from the musico nd tqb below diogroni ond ptoy it visuolly,
sure't hisi so bit of on extremee xompleo f the kindso f ideost hot con be discovered nope ii wiili nspirey ou to come up with youro wn geometricollyb, ut I inventions,

59. uNlr 17=D iminishedq nd whole-ToneL ines
''e includedt hisl osts ectiont o showy ou o few more of my fovorited iminishedq nd whole-tonel ickso nd cks'M ostc on be usedi n ony situotionth ot collsf or o porticulors cole,f rom stoticc hordst o ll-V-lp rogresions,
Scmeo re writtenw ithoutc hord symbolsb ecouset hey con be ployed over mony differentc hords,
@ Example 67
We'llk ickt hingso ff with o good C7 lineu singt he diminisheds cole.B eginnlngw lth o bebop phrose,i t winds throught he C dominontd iminisheds coleb eforef inishingu p with o bluesr iff.
. ?
@ Example6 8A:A scendingA WhobfLne pdtern Reversed
Then extt wo whole-tonel ickss ounds urprisingclyo ol for how simirlet hey ore. I leornedt hem from o stu-dent
who wos tryingt o work out the whole-tonep ottern but didn't understondth e fingerboordd iogrom I showedh im' Going up the scole,h e ployed the pottern reverseds tortingw ith the highestn ote on every
string,lt soundedg reot!T hef ollowingl ineso re simplyt he firstw hole-tonep ottern( Exomple4 lo) with the
noteso n eoch stringp loyed in reverseo rder,C heck'em outl
Example 688: Descending A whore-Tone poltern Reversed

60. 60
@ Example 69
Nexti so good string-skippinwgh ole-tonel ineu singo ugmenteds th intervolsm ovingu p bSthsB, ut,s urpris-ingly,
t hisl inei so lsoi n the diminisheds colet oo, Ployi t over A7, thinkingo f it os q whole-tone,P loyi t over
87,t hinkingo f it os diminishedY, ouc on olsot urn thisl icki nto o trickyc hops-buildinge xerciseb y repeoting
it severol times, (You get extrq credit for moving it up or down two frets every time for the whole-tone ond
three frets for the diminished.)
@ nxampte7 O
As with ony scole,i t'so common techniquet o odd possingo r neighbort onesb etween scolet ones.
Possingto nesc on smootho ut ond extendw holeitonei deos,T hes ecreti st o odd onlyo few to retoint he
soundo f the scole,l f you odd too mony,t hings-mighst todt e soundo verlyc hromotic,T hen ext linei so
shorte xompleo f odding o few possingn otest o o whole-tor1em elody,l t soundsg reot over G7, but olsot ry
it over Eb78, 7,o nd, whot the heck,o ver oll sixd ominontsi n thisw hole-tonek ey!
G705)

61. @ Exampte7 l
iromple 7l demonstrotesrh ythmics yncopotiono dded to o diminisheds colep hrose,B reokingu p linesl ike
-.rso ne, especiollys equencesc, on odd o lot of musicole nergyq nd ottitude,L eornt he bosics equence
frrstw, hich stortso n the second note of the firstb or. lt oscendst o high Ebb efore reversingb ock down to
rne finolb or,T henf igureo ut the rhythmsO, nce you understondt hem, you'llb e oble to odd the some syn-copotion
wherever you wont in the sequence
@ Exampte7 2
I hod to throw in one of my secreto ctove-displocedw hole-tonel ines.lt 'sj ustt he noteso f the scole ployed
up in order( storfingo n C) but with certoinn otesp loyed on octove higher,o nce we hii the high D, we go
bock down the some woy, There ore o few woys to go qbout picking this line. lt con be olternote-picked,
but stortw ith on upstrokeo n the low C, Anothero pprooch ist o begin with two downstrokeos n the C ond
D, then one upstrokeo n the high E,t hen one downstrokeo n the F$o, nd then one upstrokeo n the high G$'
Then repeot: down, down, up, down, up, etc'

62. Then ext exompled emonstrotesh ow you con uset he previousli nei n o ii-v-lp rogression. Dm7m elodyi n the firstb or,t he octove-disploced Followingth e five notes whoie-toneb eginso n the low G, Thisti me,o ffer the first ore ployed (up to Eb)t,h e pottern ism oved up o whole step (two frets)o nd ployeo ning on low A, Thel iner esolveso n the 3rd of ogoin begin- Cmoj7,
Dm7
CmojT
^ 1
v l
@ Exampte 74
Applyingt he somef ive-noteo ctove-disploceds equencet o the diminisheds cole, in BbA' ftert he cm7 bor,w hich iso nicej ozz the next linei sf or o ii_V_l descendingp hrose,t he octove-displocedG bd iminished beginsw ith the lostt wo noteso f the.firslbor (c to,D).* Youc on olsot hink of it os five-note three timesw ith the firsts tortingo n c (secono+o--tbsi shopesp loyed ond the note in bor l), the next on A (fourthn ote of bor2 ), next on Ff (ninth note in bor 2), ;
Cm7
BbmojT

63. @ Exompte7 3
Finollyh, ere'so couple of whot you mightc oll speed licksf or both the whole-toneo nd diminisheds coles, Thef irsts tortso s on oscendingw hole-toneo rpeggios equence,B utw hen it reqchest he 2nd stringw, e toke o rightt urn ond heqd up the neck,t okingo dvontoge of the mojor-3rdtu ningb etween the G onO g strings. Youc on continueu p the two stringso s long ond for os you wont, Also,t ry chongingt he rhythmsw hiley ol ploy it, Move oll the notest o the right,p locingt he firstn ote (A) on the firstd ownbeot of bor 2, Or ploy the line os triplets,
A705)
@ Example 76
Thed iminished-speedv ersiont okeso dvontoge of the mojor-6tht uning between the 4th ond 2nd strings ond betweent he 3rd ond lst. Thel iner equireso lot of string-skippinbgu t mqkeso burningo scending( or
descending)d iminishedli ck.I n o solo,y ou mighto nly need to ploy os litfleo s o singleb or or so to get the point ocross,
E7(te)

64. Finql Noles
Thonky ou for checkingo ui thise xplorotiono f the somei deost hot con diminishedo nd whole-tones coles,I hope you.vef ound benefity ourp loying,D on't feel thot you mustc onquere verything good ployer'c hoose o limitedn umbero f potterns,l ines, in thisb ook to be o mosl importont'g et them into your ond conceptso nd workh ord on them,T hen, ployingo s soono s possibreN, ot mony proyers( incruding on o doily bosise veryi deo in o ooots ucho s thiso ne, However, me) con use theses coles'o s well os others coles do noi negrectr eorningth e theoryo f how ihe doy' put ond theirc hords,w ork in music.A nd when procticet ime isd one for on some recordingso f your_fovoritep loyers.L isten. orrrriv il;#fi:,1f;:.[:T:f3:i[t5T:fiiliiiil[i;J,.5:r#or, h1ow, t,hied,y nues*erot hhsdeses e o s oounyndsoe. ur
-Don Mock

65. , rllJ[llltli![!,,.
ImIIIoOcRSEC REY OTTHEtrl[STE-KREIS
In this book, legendary guitarist and educa_
tor Don Mock exposes the closely guarded secret soloing techniques of jizz and
rock giants, revealing easy ways to create
ultra-cools ounding lines and patterns by substituting simple diminished and auo-mented
patterns over dominant 7th chord!.
Containing over 70 music examples,
lines, licks and patterns, this book/CD
package approachest he potentiallyc om_ plex topics of soloing and scale substitu-tion
from a player's perspective, immedi_
ately presenting useful tines and patterns
that you can use now. All music is writ_
ten in
and all music examples are contained on
the
t
+gF*
¤
2
a ¤
r,
lr
,NIHPEE 0/MPIUXSK I If/WM' fi/;DKE /JIANES GuitoSr ecrets-MelodMki norR eveal(e0dl SSB) FRUBTI IHKTR
GuitoSr ecre-tHs ormonicM inorR eveolepAO S ig)
YV,4RNEBBR OS.P UBLTCATIONS 'A1 5W8a0r0n erlv lUsiGc roupC ompanv NW 48fl^A venue. ,4iamFr,lo rda3 30.4 re r nternational Music publications Limited Griffin House, 161 Hammersmitf, no.a, f_onam Wi,ri,*Ur*rrd
s r 9.9s
-66.a: .ffifi|ruffiilill,