|
Exotic
& Erotic Scales Daz Malekpour
Hey
again. You may be wondering why I am not covering a player this month,
but believe me, it’s pretty hard work, and I’m lazy. So, I am taking
a short break. Instead, I’ve decided to have a special in-depth feature on two
of my favorite (but rather under obscure) scales; namely, the
Diminished, and the Whole Tone (Augmented). It is surprising how so few
players venture outside the boundaries of their harmonic minor \
pentatonic \ whatever favorite scale to embrace the joys of other,
rather different sounding interval sequences. This probably is due to
its lack of use in conventional rawwwk guitar [sic]. However, further
analysis shows that many high-technique players (including the likes of
Shawn Lane and Allan Holdsworth) often flirt with such scales, putting
them to their fullest use (i.e. not just for cliched licks). Sound
clips are posted on my site (finally), and if you have any comments or
queries about the lesson, please feel free to mail me. Next month,
we’re getting hyper technical... yes, that ~50 year old shredder
that’s better than the lot of us put together, Allan Holdsworth. Be
very afraid. Best
wishes, ~d www.dazmalekpour.homestead.com * Part
I - The Diminished Scale
Theory
Why
the long faces? Sad to say, most players don’t know about the workings
of the diminished scale (or diminished seventh, as it is also known as),
yet use it with regularity in harmonic-minor friendly shred tunes a la
Yngwie. Basically, it is a 7th chord, formed with flattened 3rd’s,
5th’s and b
7th’s– thus making it, in correct terms, a double
flattened seventh. This is also the enharmonic name for a major
sixth, theory fans. Here is the pattern: I
III b
V b
VII bb So,
for C it would be: C
E b
G b
B bb This
yields an unusual property which even the most simple of players can
see. Because, fundamentally, the chord is made up of 3 minor thirds
stacked on top of each other (with ultimately the tonic note being
doubled an octave higher at the top), this means that yet another minor
3rd awaits the sequence after this octave. In simpler terms,
the octave has been split into 4 intervals of equal minor 3rd’s
– creating the odd ability for the scale to progress identically
forever through its interval progression. The 4 notes in the scale are
mirrored perfectly an octave higher without a change in its pattern.
Alright so far? Now.
Think about this. If the interval progression is identical with no
change, would this mean that it can represent other tonalities, other
keys, while not even changing from its original key’s interval
pattern? After all, if the pattern is identical, who is to say I can’t
start on another note in the sequence? The answer is, surprisingly, yes;
each diminished scale holds 4 tonalities, depending on which note you
start on, be it your tonic, 3rd, 5th or 7th.
Therefore, one is able to play over four complete tonality changes
through use of a single diminished scale (the other tonalities do depend
on the scales’ other notes, though). This can act as a beautiful and
majestic gateway for mid-song transposition from one key to another. For
instance, if we were playing C diminished, and if the piece transposed
to tonality of Eb minor, we could still stay in the same scale, or use
it as a useful link to noodling now in E minor. This change perhaps is
the clearest of them all in neo-classicism, and Paul Gilbert is
especially fond of this movement, weaving in and out everywhere between
the two tonalities. Once you are clear of all this, it’s time to have
a go – the few examples below show some ways where the scale can be
used in shred licks – I have kept all the examples in one key so you
can relate then transpose the lot as you see fit. Don’t feel obliged
to stick to a neo-classical context, though. Experiment with it,
especially in jazzy pieces. Example
one
Here
are some basic playing ideas you might already know or be familiar with
in the context of playing. Notice especially ii) – the arpeggios here
are as common as muck in neo-classical music. Knowledge of these forms
will increase your abilities with the scale, as with any scale in
general. i)
The E diminished scale. Notice the repeating interval pattern. ii)
Arpeggios,
ascending and descending. Try only using your first three fingers for
speed’s sake. i)
|---------------------6-9-12-9-6--------------------- |-----------------5-8------------8-5----------------- |-------------3-6--------------------6-3------------- |---------2-5----------------------------5-2--------- |-----1-4------------------------------------4-1----- |-0-3--------------------------------------------3-0- ii) |----2-5-2-----5-8-5------8-11-8------11-14-11-----14-17-14-----17-20-17--- |---4-----4---7-----7---10------10---13------13---16------16---19------19-- |-/5-------5/8-------8/11--------11/14--------14/17--------17/20--------20~ |-------------------------------------------------------------------------- |-------------------------------------------------------------------------- |-------------------------------------------------------------------------- |-20-17-----14-17-14-----11-14-11------8-11-8------5-8-5-----2-5-2------ |-----19---16------16---13------13---10------10---7-----7---4-----4----- |------20\17--------17\14--------14\11--------11\8-------8\5-------5~~-- |----------------------------------------------------------------------- |----------------------------------------------------------------------- |----------------------------------------------------------------------- Example
two
Here
are a few interesting ideas that most of you probably haven’t seen in
the context of the diminished scale. Just some things to bounce around. i)
An alternate-picked scale run, ascending. Try using only your
index and middle fingers. ii)
The
same run with mirrored descent. i) |--------------------------------------------------------------------------- |---------------------------------------------------------------------16-19- |------------------------------------------------14-17-14--------14-17------ |---------------------------13-16-13--------13-16--------16-13-16----------- |------12-15-12--------12-15--------15-12-15-------------------------------- |-11-14--------14-11-14----------------------------------------------------- |---------------17-20~~- |16--------16-19-------- |--17-14-17------------- |----------------------- |----------------------- |----------------------- ii) |-17-20-17------------------------------------------------------------------- |---------19-16--------16-19-16---------------------------------------------- |--------------17-14-17--------17-14--------14-17-14------------------------- |-----------------------------------16-13-16--------16-13--------13-16-13---- |--------------------------------------------------------15-12-15---------15- |---------------------------------------------------------------------------- |-------------------------- |-------------------------- |-------------------------- |-------------------------- |12--------12-15-12-------- |--14-11-14--------11-14~~- Example
three
So
you’re a hot shredder, then? Tackle these medium difficulty licks then
– there’s something for everyone. The biggest problem one could find
in these possibly is the gargantuan stretches required for those
interval leaps – I have very small hands, but if Vinnie Moore can make
do with small ones, so can I. i)
Basic string skipping, no special mentions here. ii)
Tap-skipping.
Eloquent and smoothness are the requirements. iii)
Legato
ascent. Those stretches can hurt, so be careful and warm up. i) |--------11h14h17h14h11--11---------------11h14h11--11--------- |-------------------------------------------------------------- |11h14h17--------------17--17p14p11h14h17---------17-17p14p11~- |-------------------------------------------------------------- |-------------------------------------------------------------- |-------------------------------------------------------------- |--------11h14h17t20p17p14p11------------------11h14h17t20p14p11-------------- |----------------------------------------------------------------------------- |11h14h17--------------------t20p17p14p11h14h17-----------------t20p17p14p11~- |----------------------------------------------------------------------------- |----------------------------------------------------------------------------- |----------------------------------------------------------------------------- ii) |---------------------------------------------------------------14h17h20- |---------------------------------------13h16h19--------13h16h19--------- |---------------11h14h17--------11h14h17--------11h14h17----------------- |-------10h13h16--------10h13h16----------------------------------------- |9h12h15----------------------------------------------------------------- |------------------------------------------------------------------------ Enough
diminished scale for you? Lets move onto… Part
II – The Whole Tone (Augmented) Scale
Theory
Another
largely overlooked scale is the whole tone or augmented scale. Having
even less of a place in ‘rock guitar’ music due to its lack of
popularity (and practicality), it has rarely been used by most guitar
players. However, give it some time like with the diminished, and you
may have another weapon in your musical arsenal. Considered a
‘synthetic’ scale, it is made up of not 7… not 4… but 6 notes… which are, correctly assumed from the scale’s
title, whole notes. In other
words, the octave is divided into 6 equal complete Tone intervals, much
a way as the diminished worked its magic with minor 3rds. There are no
semitones, and thus when listening to the scale it is impossible to
establish a single tonal centre. This leads to exactly the same
repeating functions as the diminished scale, whereby one can transpose
from key to key quickly through its fluent use and understanding.
Ultimately, both scales offer a compositional device that diatonic
harmony does not provide – use it in
conjunction with diatonic harmony, and you’ll be laughing. Here is
the pattern: I
II
III
IV
V
VI
I So
for C it would be: C
D
E
F#
G#
A#
C Easy,
no? The most remarkable thing about the scale is that only 2 variations
are needed to cover the scale in all its keys – one starting on C (as
above) and another from C#, a semitone above it to compensate for keys
that fall between the formers interval pattern. Then, it is simply a
matter of starting on the right tonic note, and you’re off. Please
note that I use C as an example key as it naturally contains no sharps
or flats to confuse and confound. Example
one
Here
are some ideas to start you off. i)
The whole tone scale, in G (tonic note is G). ii)
Whole
tone arpeggios. The same scale, yet tonalities of firstly G, then A. i) |-----------------------------9-11-13/15\13-11-9----------------------------- |----------------------8-10-12------------------12-10-8---------------------- |----------------6-8-10--------------------------------10-8-6---------------- |-----------5-7-9--------------------------------------------9-7-5----------- |------4-6-8------------------------------------------------------8-6-4------ |-3-5-7----------------------------------------------------------------7-5-3- ii) |-----------11h15p11------------------------13h18p13------------- |---------12--------12--------------------14--------14----------- |-------12------------12----------------14------------14--------- |-----13----------------13------------15----------------15------- |---14--------------------14--------16--------------------16----- |-15------------------------15~~--17------------------------17~~- Example
two
More
whole tone goodness, these licks may change your idea on the augmented
scale. i)
G whole tone, legato ascent. ii)
Top-end
wildling, pay attention to the change in tonalities. Over the back,
slash distorted C5, D5 and E5 chords for greater effect. i) |---------------------------------------------------------------9h11h13- |-------------------------------------------8h10h12------8h10h12-------- |--------------------------6h8h10-----6h8h10-------6h8h10--------------- |-----------5h7h9-----5h7h9------5h7h9---------------------------------- |------4h6h8-----4h6h8-------------------------------------------------- |-3h5h7----------------------------------------------------------------- ii)
x4
x4
x4 |------------------|------------------|------------------| |-13h15h17p15p13---|-15h17h19p17p15---|-17h19h21p19p17---| |---------------17-|---------------19-|---------------21-| |------------------|------------------|------------------| |------------------|------------------|------------------| |------------------|------------------|------------------| Example
three
However,
the most fun a dude can have with the augmented scale is in high-speed
legato. Pay attention to the repeated notes giving a fluid sound. i)
Not too difficult, just go for it. Just hammer on all the time,
sliding without sounding here and there. i) |---------------------------------------12h14h16/-14h16h18/- |--------------------13h15h17/-15h17h19--------------------- |-13h15h17/-15h17h19---------------------------------------- |----------------------------------------------------------- |----------------------------------------------------------- |----------------------------------------------------------- |16h18h20/-18h20h22~~-- |---------------------- |---------------------- |---------------------- |---------------------- |---------------------- That’s
it, hope you’re a little more enlightened by it all, and I’ll see
you next month with some more madness in the style of ‘Fatboy’. www.dazmalekpour.homestead.com
|