Lesson 8

LESSON 8
The Diminished connection

Pentatonic scales work well over the main chords of the major and minor scales as we have seen. The diminished chord occurs as the penultimate chord of the scale e.g. - in the key of G - G Am Bm C D Em F#o. The harmony of the F#o chord causes problems if we try and play this with the pentatonic scale notes. To overcome this we need to use other scales which fit the harmony, and of course the style of music we are playing.

The diminished scale pattern on the guitar looks like this - up to the 12th fret. This example starts on the F# These scale notes can be played if we encounter the F#o in the sequence of chords we are improvising over.

PLAY AUDIO

The blues, quite often consists of the diminished chord, rather than just the three chord trick, so it is worth exploring. Playing all the scale notes can be a bit cumbersome. Try breaking the scale into arpeggios.

PLAY AUDIO

Shorter diminished phrases can be just as effective. To use the following patterns simply follow the arrows.

PLAY AUDIO

As well as helping us play through chord changes throughout the scale as in: G Am Bm C D Em F#o. Diminished patterns can be used to great effect when combined with the pentatonic or used as a substitute. We can use it to lead into chord sequence, say in the key of G.

PLAY AUDIO

Or, as a substitute for the IV ( C7 ) chord in a three chord blues sequence. The Go, replaces the C7.

PLAY AUDIO

Or, as a substitute for the V ( D7 ) chord in the same sequence:

PLAY AUDIO

We haven't tabbed this, but here's an idea of the jazzy blues flavours you can achieve when improvising with these dimished licks. Play audio

And here's an example without dimished runs which gives a more delta style feel. Play audio

Go to Lesson 9