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using whole tone and dimished scales in blues.

 
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youngnicholas
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PostPosted: Fri Apr 08, 2005 8:22 pm    Post subject: using whole tone and dimished scales in blues. Reply with quote

I am very interested in findng out mre about this and want to know exactly how to use it and some good recording that it is used.
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Bjorn



Joined: 04 Jan 2005
Posts: 1037
Location: Denmark

PostPosted: Tue Apr 19, 2005 8:38 pm    Post subject: Wholetone/diminished Reply with quote

Hej Nic,
I like the diminished scale alot in minor blues.
In this case I think of it like this...(ex: Equinox in Cm)

C,D,Eb,F,F#,G#,A,B = C Diminished, notice the amount of ''wrong'' notes (comparing to the C dorian), They are F#,G# and B. Only three right?

Then take:
C#,Eb,E,F#,G,A,Bb,C = C# Diminished, The ''wrong'' notes are C#,E,F#.
Also only three, but three different.

Tha last is:
D,E,F,G,G#,Bb,B,C# = D Diminished, The ''wrong'' notes are E,G#,B,C#.
Four ''wrong'' notes.


My favourite of those are definatly the first, C Diminished....

For me The Diminished scale is probably the most suitable scale for all chords, try to do the same thing with this ccale, to other chordtypes.

Also a good thing would be to listen to the Miles Davis album Decoy....
They do alot in this, along with Miles incredible ''scalebuildigsystem''.

> And to the Wholetone scale, well, I like to use it in majorblues, in V7alt-Imaj7/Im7 resolutions and first or all over the maj7 chord,

C,D,E,F#,G#,Bb = C wholetone, only two ''wrong'' notes, G#,Bb, comparing the the C lydian scale. And only one ''wrong'' note Bb, comparing to the Lydian augmented scale, which is also a great scale for the Maj7 chord...

Well I hope to help, and by the way, Is been some time since youve posted some homerecordings. They sounds good.
You could try to study this Diminished-over-minorchords approach, and then do one of your recordings over a minor tune. Equinox is great for this. Mostly because it creates alot of tension to play like this until getting it defined, so it is good to have those Abmaj7 and G7alt Bluesy sounds, to get your ear back on track if you get lost.

Then I could give you some feedback, because I have been studying these things at least 2 hours a day for a long time....

Well, good luck and let me know if it works well for you.... Idea

Bjorn...
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Loke
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PostPosted: Sat Apr 23, 2005 12:44 pm    Post subject: Reply with quote

Hej Bjorn,

if you're playing the C diminished [C,D,Eb,F,F#,G#,A,B] scale over Equinox, do you take this scale for all chords or do you make a difference between Cm, Fm and the 7ths and play f.e. a F dim scale over Fm ?

And if you use the Dim, do ya stay there or do you combine it with f.eks. usual minor scales ?

Are the "wrong" notes only passing tones ?

Takk og ha det

-L-
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Bjorn



Joined: 04 Jan 2005
Posts: 1037
Location: Denmark

PostPosted: Sun Apr 24, 2005 6:13 pm    Post subject: Reply with quote

Hej Loke,
I do switch to F diminished, simply because that is the Diminished sound that I like most.
About those ''wrong'' notes, I dont know if I will call them passing tones, because I think that they have just as much right to be their as the ''right''
notes, atleast, that is the conclution that I make, listening to musicians like, Michael Brecker, John Scofield, Kurt Rosenwinkel, Pat Metheny etc...
....Og tak i lige maade.... Wink
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