Half-Whole Diminished Scale Video Lesson

[JonnyPac]

Hey all, I just made a new video about using the diminished octatonic scale (AKA inverted diminished - diminished dominant - half-whole diminished) to reharmonize V7 chords.

The scale creates a basic "vanilla" lower structure (1 3 5 b7) and interesting upper tensions (b9 #9 #11 and natural 13). They are great for tritone substitution and triadic superimposition.

For those of you super savvy with this, it may all be too basic. I just learned it in the last year or so, so I am still having a lot of fun diddling with it. Hit me up with questions. Feel free to throw in some posts that add more helpful information.

[Dark Star]

I like that. You communicate this concept clearly & make it easy to understand. Thanks

[Nick0783]

Thanks for that nicely paced lesson, it has given me some good pointers; especially starting the diminished run from the third of the dominant (in this case the C# of A7), previously I had tended to go from the root or b9 for some reason.

[markf]

thanks

[gersdal]

There's many ways to play the half-whole diminished scale. This is my favorite pattern. Slightly different from JP as far as I could see, but more or less the same.

Great vid JP.

[JonnyPac]

Thanks for the nice comments! @G I actually don't use box patterns... I just think chord-scale-interval and make it work. That looks like a nice pattern though. Thanks for adding it.

This is another lesson I did that day. I use the HW Dim over two parts in the blues.

[markf]

There's many ways to play the half-whole diminished scale. This is my favorite pattern. Slightly different from JP as far as I could see, but more or less the same.

Great vid JP.

nice way to play the scale, thanks.

[gersdal]

Thanks for the nice comments! @G I actually don't use box patterns... I just think chord-scale-interval and make it work.

Simply just like that? I have to rely on some patterns normally. My mind just won't work in a chord-scale-interval way, or I'm too lazy and old to force myself to cope with it.

[JonnyPac]

I use tiny tiny patterns and link them together. That's all. It's very economical.

[Krenwin]

Why don't you try 3 notes on a string???

[JonnyPac]

It's a sound thing. I don't hear it as well. I prefer the crosses to be in thirds to outline tetrian harmony, etc. Just a personal preference.

[Meggy]

I use tiny tiny patterns and link them together. That's all. It's very economical.

Terrific lesson, cheers for posting the link. Regarding your way of linking small patterns, it may seem obvious to you, but I suspect that all of us could learn something useful from this, even if we continue to use other ways of visualising the fretboard. So any chance you could elaborate a bit on your method of doing things at some point? I for one would be very grateful!

[JonnyPac]

Sure, I've been planning a lesson on that. I think it might unify the two schools: chord-scale theory vs chord-tone/line a little more... Stay tuned! THANKS!

[Meggy]

Sure, I've been planning a lesson on that. I think it might unify the two schools: chord-scale theory vs chord-tone/line a little more... Stay tuned! THANKS!

I like the word "unify"! Given the number of arguments I have heard from various musicians over this whole thing, I will be impressed if you can do it. Although I suspect that at the highest levels of musicianship (I can only suspect this since I haven't got there yet ha ha) it all tends to amount to the same thing. I will certainly look forward to your lesson though, cheers!

[johnnyl]

Thanks for posting that great lesson. Will have to watch it a few times to grasp it though!
Cheers John

[lkmuller]

Hey Jonny, thanks for the lesson. Once I dug into it I enjoyed it a lot.

[Meggy]

Thanks very much for those last few posts Jonny, really terrific stuff. If you are writing a book, don't give too much away free before you publish though! Still, what you have said is much appreciated, cheers.