> =
> The whole half diminished scale is formed by taking a diminished chord,=
say
> C Eb Gb A and adding a half step approach note for each chord note.
> =
This has always helped me. To see it as a diminished 7th arpegiio with
half-step approach tones.
> Thus C [D Eb] [F Gb] [G# A] [B C]
> =
> This is how I think of this.
> =
> For the half/whole diminished scale, I have a much different mental
> conception.
> =
> This is for a dominant chord, say C7 =3D=3D C E G Bb and for me its:
> =
> 1 b9 #9 3 #11 5 13 b7 1
> =
> C (Db D#) E (F#) G (A) Bb C .
> =
I have also been helped by taking dominants and simply playing the
whole-half scale from any chord tone but the root. So for C7, the
whole-half based on E, G, or Bb will work. I started out thinking "go up
from the root a half step and play whole-half" but then I got concerned
about so much of playing being "scales and arpeggios from the root" that
I dropped that. A C7 based line can be nicely embellished by launing a
whole-half scale line from any chord tone but the root. of course, you
can do it from the b9 too.
I always, however, am suspicious of my own tricks since I have so far to
go in becoming even an adequate soloist.
BTW I have found another nice way of extending a line based on a
dominant chord. The extensions of a C7 (the 9, 11, 13) actually form a
major7 arpeggio if you start on the 7th of the chord. So a C7 line, when
the b7 is reached, extends with a BbMaj7 arpeggio. Likewise, the 7th of
a Min7 chord can begin a Maj7 arpeggio that gives you the 9,11, 13 of
the min7 chord.
Such mechanical tricks do not a soloist make, but they've helped me
locate those extensions by employing intervals I already know and can
play intuitively.
> =
> Reed Kotler
> reed@justjazz.com
> http://www.justjazz.com
-- =
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"You know, a long time ago, being crazy meant something. Nowadays,
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