The pattern happened as a result of my thinking about the root and 7th of each chord, so I don't feel too bad about it. The first two bars of each example would also work over G7, Bb7 or Db7 chords; try that and come up with your own ways to resolve the lines to Cm, Ebm or Gbm tonic chords.
Play Example 1. Play Example 2. Stupid Guitar Trick:.
Diminished chords are built in minor thirds. Minor thirds invert to major sixths.
There are two pairs of strings on the guitar that are tuned in major sixths: the 1st and 3rd strings E-G and the 2nd and 4th strings B-D. You can exploit the tuning to come up with some cheap and easy diminished lines! Any diminished scale fragment you play on string 3 could be repeated on string 1 at the same fret; it'd just have the effect of sequencing your original idea up a major 6th.
Likewise, a scale fragment played on string 4 could be repeated on string 2. I've written out a pair of examples see 3 and 4 ; try them out and I think you'll quickly hear what I mean.
Amuse yourself for awhile - but keep in mind that if you do this too much in a solo, you'll start to hear that "jazz student playing patterns" sound. Play Example 3.
Play Example 4. Food for thought: the guitar also has two pairs of strings that are tuned to minor sevenths. Minor sevenths invert to major seconds. Meanwhile, any variation of notes within the diminished scale is movable up and down the neck in minor-third intervals equal to a three-fret shift on a single string.
FIGURE 6 offers a relatively simple example, which can be moved up and down the neck in minor thirds. Again, any inherent patterns, whether triads, whole steps, half steps, or any combination thereof, can be sequenced up or down in minor thirds.
If not, what would you change? Quote from: steveo2 on March 28, , pm. I've been trying to harmonize mostly most of the scale that I use the most, but with this one I'm a bit confused. But you may reach a point where you find yourself looking for other options beyond these familiar sounds, in order to change things up and add harmonic color and a splash of haunting, jazzy dissonance to your lines. I got a metal sliding, and it worked just fine.
Since all of these patterns are movable in minor thirds, this means three more major triads—D, F and Ab—also live within the same B half-whole scale. And since each triad has its own inversions root position, first and second inversion the possibilities for melodic invention are immense! These types of ideas, by the way, first got my attention via the work of saxophonist Michael Brecker and guitarist John Scofield, both of whom influenced guitarist Jimmy Herring, another big proponent of diminished patterns.
Check out their work, keep an ear out for cool-sounding diminished ideas and have fun exploring these concepts on your own.