(Jazz Guitar)
- Hi everybody, my name is Jens Larsen.
In this video, I'm going to go over
three different arpeggios from the Dimininished scale
and I'm going to show you
how you can use them on a dominant chord
and the three arpeggios I'm gonna talk about
for once are not triads,
mostly when I'm talking about the Diminished scale,
I'm talking about triads, but this time
I thought I would take some other structures.
The first one is actually one that I use a lot
and I also remember seeing a video from Scott Henderson,
where he talks about how
that's his favorite arpeggio from the Diminished scale.
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(Jazz Guitar)
All the examples that I'm using in this video
are on a C7 diminished,
so C7 with a 13 and a flat nine like this
(guitar music)
and then I'm resolving that to an F major seven,
so that means that the scale I'm using
is this Diminished scale, so,
(Jazz Guitar)
in this first example,
I'm using the diminished major seven arpeggio,
so if we just look at what that is,
B flat diminished arpeggios,
I'm sure you know already that would be this
(Jazz Guitar)
and if you take the diminished seven,
so in this case, that's a G
and then replace that with a major seven, A,
then you get this arpeggio
(Jazz Guitar)
and it's also what I'm using in the line,
I'm using two of them, first I'm using one from G
and then later the one from B flat,
so I start just with an encircling of the G,
so A, F sharp and then of the arpeggio
and then a small run down the scale
and then another encircling, this time on the B flat
and then that arpeggio and then just two notes
to resolve to the F major seven.
A way to practice these diminished major seven arpeggios
is just to take them up in minor thirds,
so that you cover all the ones that are within the scale
and an exercise like that could be something like this.
(Jazz Guitar)
Another really useful structure
to check out within the Diminishedscale
is of course, the dominant arpeggios,
because we have four dominant arpeggios,
we have in this case the one from C, the one from E flat,
the one from G flat or F sharp and then the one from A,
that's what I'm using in this line as well,
so I'm starting with an A,
(Jazz Guitar)
seven and then I'm playing in this panel
(Jazz Guitar)
and I'm actually doing exactly the same
just moving up to G flat or F sharp,
(Jazz Guitar)
and then ending with a small scale run
to resolve to the fifth of F major seven
and of course, if you wanna connect
these different dominant arpeggios and check that out a bit,
then you can take whatever area on the neck,
that you're working with Diminished scale
and then try and go through all of them in that position,
that could be something like this.
(Jazz Guitar)
Another structure that I'm using a really lot,
when I'm working with Dim scale is this quartal arpeggio,
so if we look at a C7 13,
which is of course included in a Diminished scale,
then the top part of this is actually this,
quartal arpeggio from B flat, so B flat, E and A,
with this structure of course, you have it here,
then you will also have it all the other places,
fading with the dominance in the scale,
so that's something you can move around
and work with as well
and that's what I'm doing in this line,
so the first part of the line is just using
the fact that we have this three-note structure
and actually just moving this around
would already be interesting enough,
because we have these three-note groupings
that are sort of breaking up the rhythm in a nice way,
so start with that,
then when I'm up here on the one from D flat,
we just go down the scale a bit
and then down
(Jazz Guitar)
this B flat diminished major seven arpeggio
and then resolving that to the F major seven.
So if you wanna check these out and also work a little bit
on your alternate picking, then you can play this exercise.
(Jazz Guitar)
When I'm improvising over a dominant,
using the Diminished scale, then these three arpeggios
is probably what I'm gonna be usng a lot
and I'm also gonna combine with a lot
of the major triads especially,
but also a lot of triadic ideas,
I'm kind of curious what you use,
when you're working with the Diminished scale,
for me, it's a little bit a battle to try
and avoid playing too obvious, sort of repetitive figures
and just have something
that you can move around in minor thirds,
because somehow that's a little bit easy
and it gets a little bit boring to listen to,
but that's of course also a question of taste,
so I'm very curious how you approach this
and how you work with improvising the Diminished scale,
so leave a comment on that, if you have something to add,
I'm sure most of the people watching this video
are interested and I know for sure that I am.
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That's about it for this week,
thank you for watching and until next week.
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