It’s basically one chromatic scale, right? So I’m gonna just play through one of the examples on page 30 for the E diminished scale or G, B flat D flat diminished scales. Using it to explore the bass… Sort of chord changes that you will be playing this with. 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. In the book, I am on page 29, where both of these scales are explained and I want to play you the three diminished scales in the fingering as it’s shown in the book. 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. There are two. try to minimise the number of repeated note letters? And the way these scales are built, I don’t get a sense of a beginning and an ending. That said, they create great tonal material, great variation; and I want to show you a little bit how to use them. If you want to practice the Gdiminished scale, for example, pop a Gdim7 chord into irelpro and noodle over it. So with the diminished scales, that’s different. Right? Now with these symmetric scales there is a sequence that always, If I start with a whole step, this is called the, I want to start out with the diminished scale and that is also the whole half tone scale and you will see it described on page 30. 707-280-1270. So it’s a little bit different, Later we’ll talk about what that chord is, where it comes from, what it consists of, and all that good stuff. So, whole step, and then you have either – next note then scoot – going here. Now with these symmetric scales there is a sequence that always repeats repeats repeats, so there is not the concept of having a leading tone in the beginning in the end, like you would have on a regular major scale, or a minor scale or any of the notes, all of which we’ll get to. 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. I wanna play you the scale that is written out on page 30. Symmetric scales are different animals than diatonic ones, so the diatonic rules of scale naming do NOT apply. Then next note, then scoot. As you notice, We’ll what’s relevant here is that they contain the exact same notes. And the way these scales are built, I don’t get a sense of a beginning and an ending. Pretty patterns that you can move by the interval the scale is symmetric in. Cheers! S’fun and will get them fingerlings get fingerings down! that’s a fretwrap by Gruvgear! I want to start out with the diminished scale and that is also the whole half tone scale and you will see it described on page 30. 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. Dominant Diminished Scale (Half/Whole) The following diagram shows a common fingering for the C […] They are always the same pattern, following the same pattern and they don’t sound like your regular major scale which for example [playing: 4.17 to 4.23] clearly has a root. “We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. Diminished scale theory can get pretty deep and dark but knowing the basics with a little work you can use this nicely. So using this whole half scale (diminished scale) over the dim7 works very well giving your lines the sophistication you want. e.g. Again, we’re fingering major seconds and minor seconds and we’re making music with that. Bass Bit 11: The Diminished Scale (BB #11), Today, we’re going to talk about a scale that is a combination of whole steps and half steps. Because each and every note could be the starting point. And so forth. It sounds like this [playing: 5.48 to 5.54]. In this Bass Bit I will walk you through another sequence of seconds – in this case major and minor seconds alternate. This is my Marleaux Consat bass by Gerald Marleaux in the video. How does that work? And then you can use that scale over that backdrop. This is the scale that does not start with an open string. That will give you some ideas to make music with the diminished scale. Alright, have fun! Notify me of follow-up comments by email. 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. But it still isn’t. And the brown thingy on my first fret? They are symmetric in nature, so they have actually more than one beginning. So I’m starting with an open string – that gives me a whole step [playing: 3.37 to 3.45]  right there in the beginning – but then I have this shape of half-step-whole- step-half-step and then I’m going to the next string, so I have a whole step in between these two. What I mean by that is that, for example, the E diminished scale also contains the notes of the G diminished scale, the B flat diminished scale and the C sharp or D flat diminished scale. Ok, so those two options are, I think, good fingering. 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”! I am an official sponsor of all these fine companies. The strings I use are by Dean Markley SR 2000s. It’s a minor third. Perfect. The diminished scale harmony is where it gets all of its tension with tritones. With the diminished scales, we have three. Later we’ll talk about what that chord is, where it comes from, what it consists of, and all that good stuff. Welcome to Bass Bit # 11. 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. We’ll what’s relevant here is that they contain the exact same notes. So it’s a little bit different [playing: 5.29 to 5.38]. And then you can use that scale over that backdrop. So, I don’t have 12 chromatic scales. Or, we can build a scale that starts with a whole step, whole, half, whole, half whole half. If I start with a whole step, this is called the diminished scale. If you alternate major and minor seconds and start with a major second it is called the diminished scale. Thanks for watching, Hi Ari, And, as with the symmetric scales, the sequences repeat. This is the scale that does not start with an open string. I demonstrate using it for fun shedding with a delay pedal as well as with a background track. There are two ways of playing them: You can either [playing: 4.35 to 4.59 ] play the next note and then scoot. Do you just try and use each note once until you can’t i.e. It’s basically one chromatic scale, right? Fingerlings on symmetric scales are quite accessible because symmetric scales are symmetric on the fretboard. Please what book were you making reference to? But “diminished”, or “fully diminished” or “diminished 7”. 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. 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”! There are two ways of playing them: You can either, Ok, so those two options are, I think, good fingering. If you alternate major and minor seconds and start with a major second it is called the diminished scale. In those scales, that does make your life easier. That said, they create great tonal material, great variation; and I want to show you a little bit how to use them. So, I don’t have 12 chromatic scales. Practicality here means simpler note naming. Yupp, you were dead on and great question. The Diminished Scale In this Bass Bit I will walk you through another sequence of seconds – in this case major and minor seconds alternate. It simply means that there are a very limited number of different ways you can transpose the scale. TC electronic is the brand of my delay pedal, amp and cab. Backwards – descending – same idea: you scoot first, or you scoot later [playing: 5.04 to 5.09]. In the case of a diminished scale the intervals are a half tone (semi tone) and a whole tone. 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. Or [playing 5.11 to 5.16]. • CapCat Music Media INC • 201 E Center St Ste 112 PMB 5033 
Anaheim, CA 92805 • Hi Ari This is the scale to use over diminished chords or diminished seventh chords. Symmetrical scales are also called modes of limited transposition or fixed transposition, which sounds even more complicated. G A Bb C Db D# E F# G. Whats the best way of doing this? 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. Am I right in saying that you have to repeat note letters in these scales at some point ? • Copyright CapCat Music Media INC 2019 So I’m starting with an open string – that gives me a whole step, With the diminished scales, we have three.

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