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vikarama

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Posts: 11
Reply with quote  #1 
Hi,

Just wondering if anybody can provide diminished scale examples
over V7 to I chord progression.

Thank You.

Regards,
Vijay

Bob

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Posts: 145
Reply with quote  #2 
Try playing Diminished 7th arpeggios off the 3,5,b7 and b9.
Ex. G7= (3rd)  B,D,F,Ab
           (5th)  D,F,Ab,B
           (b7th)F,Ab,B,D
           (b9th)Ab,B,D,F
Add other diminished or altered dominant scale tones for melodic interest. 

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Bob Holt
sandemose

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Posts: 14
Reply with quote  #3 
Half/whole step diminished scale starting on F:

F, Gb, Ab, A, B, C, D, Eb, F

Two structures on the first four strings:

x-x-1-2-3-2, x-x-4-2-4-4, x-x-4-5-6-5, x-x-7-5-7-7, x-x-7-8-9-8, x-x-10-8-10-10, x-x-10-11-12-11, x-x-13-11-13-13

Two structures on the next set of four strings:

x-3-1-2-3-x, x-3-4-4-4-x, x-6-4-5-6-x, x-6-7-7-7-x, x-9-7-8-9-x, x-9-10-10-10-x, x-12-10-11-12-x, x-12-13-13-13-x

So, what I do is that I look at all these voicings as F7, Ab7, B7, D7 chords plus extensions depending on which particular voicing that’s played. And with them comes the Imaj7 chords: F7 – Bbmaj7, Ab7 – Dbmaj7, B7 – Emaj7, D7 – Gmaj7. Adding the IIm7 chords makes the II-V-I complete: Cm7 – F7 – Bbamj7. Ebm7 – Ab7 – Dbmaj7. F#m7 – B7 – Emaj7. Am7 – D7 – Gmaj7. I call these four II-V-Is for:

Family 1

F, Gb, Ab, A, B, C, D, Eb, F (Half/whole starting on F)

Cm7 – F7 – Bbamj7 * Ebm7 – Ab7 – Dbmaj7 * F#m7 – B7 – Emaj7 * Am7 – D7 – Gmaj7

Moving the half/whole step diminished scale up a half step gives the second family:

Family 2

F#, G, A, Bb, C, Db, Eb, E, F# (Half/whole starting on F#)

C#m7 – F#7 – Bmaj7 * Em7 – A7 – Dmaj7 * Gm7 – C7 – Fmaj7 * Bbm7 – Eb7 – Abmaj7

Moving the half/whole step diminished scale up a half step gives the third family:

Family 3

G, Ab, Bb, B, C#, D, E, F, G (Half/whole starting on G)

Dm7 – G7 – Cmaj7 * Fm7 – Bb7 – Ebmaj7 * G#m7 – C#7 – F#maj7 * Bm7 – E7 – Amaj7


So, there are all the II-V-I progressions in all major keys. I practice them for about 20 min each, ending up playing in all keys in an hour. The way I practice it, is this. Starting on Family 1 I take the first voicing, but shift bass tone, and Imaj7 target chord.

x-x-1-2-3-2 (F13b9) > x-1-0-0-1-1- (Bbmaj9)

x-x-1-2-3-2 (Ab7b9#11 no third) > x-4-x-1-1-1 (Dbmaj7)

x-x-1-2-3-2 (B7#9) > 0-x-1-1-2-2 (Emaj9)

x-x-1-2-3-2 (D/D#) > 3-x-2-2-3-2 (Gmaj6/9)

I always sing the bass note so I can hear the V-I progression. Then I add the IIm7 as well, looking for close voice leading shifts, like:

x-3-x-3-4-1 (Cm11) > 1 (T)-x-1-2-3-2 (F13b9) > x-1-x-2-3-3 (Bbmaj13) etc.


I go through all these structures,

x-x-1-2-3-2, x-x-4-2-4-4, x-x-4-5-6-5, x-x-7-5-7-7, x-x-7-8-9-8, x-x-10-8-10-10, x-x-10-11-12-11, x-x-13-11-13-13

x-3-1-2-3-x, x-3-4-4-4-x, x-6-4-5-6-x, x-6-7-7-7-x, x-9-7-8-9-x, x-9-10-10-10-x, x-12-10-11-12-x, x-12-13-13-13-x

being more concerned of where I’m going (Imaj7) and where I’m coming from (IIm7). For me, the IIm7 chords provides a very strong expectation of the Imaj7 chord, and the V7 (for good or worse) is more of a cluster/filter of notes that resolve into the Imaj7 chord.

Some sounds better than others, some not good at all, but that’s up for the player to decide. Some of my favorites are:

x-3-3-3-4-x (Cm11) > x-3-4-4-4-x, x-6-4-5-6-x (F7 plus extensions) 6-x-5-5-6-x (Bb6)

8-x-8-8-6-x (Cm11) > x-6-7-7-7-x, x-9-7-8-9-x (F7 plus extensions) 6-x-7-7-8-x (Bbmaj13)


Then I go to the next II-V-I in this family until it’s finished, then move over to the next family. When improvising one can always use the same diminished scale for all the dominant chords within that family. Making arpeggios of the diminished scale structures can produce cool outside lines as well.

I hope this is of any use for anyone. Feel free to comment…

Best, Michael/Sandemose

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"Its just a problem, we´ll deal with it" Ted Greene
ren

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Posts: 11
Reply with quote  #4 
Hello.

I am trying to find accurate tabs of the whole half and half whole Diminished scale starting from the 6th string going up two octaves to the 1st string. Just in the regular position.

Can anyonen turn me on to any online tabs or anything? Thanks!
Ren.


PaulV

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Registered:
Posts: 1,539
Reply with quote  #5 
Hi Ren,
Attached are a couple of files from Ted's teachings that may help.  Ted didn't use TAB, but I think you'll find his diagrams for note positions easy to visualize on your fretboard.
--Paul

Attached Images
jpeg 1979-03-25,_The_Diminished_7th_Scale.jpg (508.00 KB, 85 views)
jpeg 1975-07-25,_Minor_7b5,_Diminished_7th,_Lydian_Scale,_&_Minor_6_Sounds.jpg (895.35 KB, 91 views)


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