That said, they create great tonal material, great variation; and I want to show you a little bit how to use them. Do you just try and use each note once until you can’t i.e. Am I right in saying that you have to repeat note letters in these scales at some point ? • CapCat Music Media INC • 201 E Center St Ste 112 PMB 5033 Anaheim, CA 92805 • Then next note, then scoot. It simply means that there are a very limited number of different ways you can transpose the scale. Thanks for confirming that I wasn’t wrong. And the way these scales are built, I don’t get a sense of a beginning and an ending. One of the fun things about these symmetric scales is that, even though they are sonically a bit more complex, they are really accessible on the fret board, because it’s a repeating pattern and once you understand how to move it up and down, there’s a lot of stuff you can do with them. But it still isn’t. Music Theory for the Bass Player. And then you can use that scale over that backdrop. The Diminished Scale In this Bass Bit I will walk you through another sequence of seconds – in this case major and minor seconds alternate. Pretty patterns that you can move by the interval the scale is symmetric in. If I start it with a half step, it’s called the diminished dominant scale – also because it’s the tone of material that you can be using this with. It’s just that when I call it the D flat diminished scale, I’m starting on D flat but I use the exact same sequence as I would be on the E, G or B flat one. So using this whole half scale (diminished scale) over the dim7 works very well giving your lines the sophistication you want. We’ll what’s relevant here is that they contain the exact same notes. Now I just need to practice their fingerlings. If you have iReal pro or something similar, plug in a diminished 7, d-i-m 7 chord that’s what you want it to say, not “minus 7 flat 5” and not “half diminished”! Dominant Diminished Scale (Half/Whole) The following diagram shows a common fingering for the C […] I wanna play you the scale that is written out on page 30. Thanks for watching, Hi Ari, And I encourage you to really think through: why is the E diminished scale the same thing as he G, B flat and D flat diminished scale? Each diminished scale basically covers four roots if you will, and the roots again are only relevant because of what the chord symbol will say. With the diminished scales, we have three. So I’m starting with an open string – that gives me a whole step, With the diminished scales, we have three. Cheers! This is the scale that does not start with an open string. As you notice, We’ll what’s relevant here is that they contain the exact same notes. As you notice [playing: 3.15 to 3.17] they’re all a certain interval apart and we will be talking about that interval very soon. [playing] Or you can scoot right away. Or [playing 5.11 to 5.16]. Symmetric scales are different animals than diatonic ones, so the diatonic rules of scale naming do NOT apply. I demonstrate using it for fun shedding with a delay pedal as well as with a background track. For the exploration of the bass it is fun to play with because it is another symmetric scale, so you can move little licks around within it. Now what’s really interesting about these diminished scales: as I said they don’t really have a beginning and an end. Or, we can build a scale that starts with a whole step, whole, half, whole, half whole half. Also: I as always love to use my delay pedal [playing: 6.31 to 6.49]. But for right now it is maybe useful to know that any diminished 7 chord will be a great back drop to use those scales over. If you have iReal pro or something similar, plug in a diminished 7, d-i-m 7 chord that’s what you want it to say, not “minus 7 flat 5” and not “half diminished”! But “diminished”, or “fully diminished” or “diminished 7”. The chord that you would be playing this scale over is a diminished chord. Pentatonic Box Shapes – Help Me Name These. Each diminished scale basically covers four roots if you will, and the roots again are only relevant because of what the chord symbol will say. Practicality here means simpler note naming. So it’s a little bit different [playing: 5.29 to 5.38]. There are two ways of playing them: You can either [playing: 4.35 to 4.59 ] play the next note and then scoot. There are two. Whether you are a beginner or advanced, have fun with this sound! This explanation may be in the book but i’m just trying to think through these on a bit of paper right now. Using it to explore the bass… If you alternate major and minor seconds and start with a major second it is called the diminished scale. That said, they create great tonal material, great variation; and I want to show you a little bit how to use them. Again, we’re fingering major seconds and minor seconds and we’re making music with that. Out of the combination of whole steps and half steps we can build either a scale that starts with a half step, then is followed by a whole, half whole half whole half whole and so forth. Also: I as always love to use my delay pedal, Music Theory Wall Chart for the Bass Player, How to Use The Wall Chart: Tips and Tutorials, The Course: Get a Solid Technique and Music Theory Foundation, Ear Confidence – 6 Paths to Fearless Ears, Ways to Study With Ari: Products and More, Music Theory for the Bass Player Wall Chart. Major seconds and minor seconds are really fun material for scales, so we’ve already looked at the scale that is made up out of exclusively half steps which is the chromatic scale. Sense of a beginning and an ending down the fret board works scale over is a chord. Major seconds and start with a whole step, and then you have –! 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