- This topic has 4 replies, 3 voices, and was last updated 1 day, 21 hours ago by
.
-
Posts
-
-
I am wondering if music with the climbing Dim7 at the changes, that Brian is teaching in ML O72 was more predominant back in radio days. We got our first TV in 1950. Maybe I heard it more often back when, and that is why the sound is so satisfying to me. I know Brian cautions against overuse, but it is the most elegant addition to my otherwise plodding struggle with the Pentatonic scales. Just thought I’d ask in case there is an older music historian in your midst.
More to the point, the particular Dim7 chord, scale and arpeggio Brian shows repeating up the neck is centered around the E-shape for the I chord in his example, with the IV , the E9, right next door. The F#9 is right there too along with an F#7. I am wondering if the other inversions of the Dim7 chord, scale and arpeggio are as guitar friendly as the example in the lesson, or if most players stay most often with the progression based on the E-shape I chord. If not, is there a next best set of inversions that are commonly used or needed. Or, how many more E9 chords do I need to learn, My apologies in advance if my question does not make sense.
-
-
Phil
Back again, after reviewing the lesson. Here is my two cents. I first cut my teeth on Dim chords and scales with Lesson EP 170. This lesson is in A. It changed my life in guitar terms. All of sudden I was able to open up the neck, create space and movement in a 1,4,5 arrangement. I was using Dim chords as passing chords to release tension and get back to the 1 chord. Brian teaches the concept a lot-there are other lessons in which he talks about using Dim chords, scales and arpeggios. I would dig into those (do a search) and you will come across them. I always try and listen to what he says in the lessons (if time permits) because then questions might be answered or you might just have more questions. As far as overuse, it’s like anything else. Be judicious in your use, but find other types of chords-augmented, 13ths, and 125 chord substitutions to add movement and texture. Hope this helps. Good luck in your journey.John
-
More to the point, the particular Dim7 chord, scale and arpeggio Brian shows repeating up the neck is centered around the E-shape for the I chord in his example, with the IV , the E9, right next door. The F#9 is right there too along with an F#7. I am wondering if the other inversions of the Dim7 chord, scale and arpeggio are as guitar friendly as the example in the lesson, or if most players stay most often with the progression based on the E-shape I chord. If not, is there a next best set of inversions that are commonly used or needed. Or, how many more E9 chords do I need to learn, My apologies in advance if my question does not make sense.
Well there is lot to unpack in that question.
Dim7 chord is not the same as the diminished scale. They are related but the difference is a dim7 chord is a four-note structure built from stacked minor thirds and that structure can be moved up or down three frets (minor 3rd) exactly four times changing the order of the notes before getting to the same exact note order. They are all essentially the same chord though.
The diminished scale on the other hand, is an eight-note (octatonic) symmetrical scale constructed by alternating whole and half steps (specifically the whole-half pattern when used over dim7 chords).
These diminished scales are much easier to do from any root note due to their symmetrical shape. You should be able to play the Whole-Half scale anywhere on the neck knowing what you now know from this wonderful lesson. Go ahead and play the scale from an A root note on the 4th string. Start with a whole step, and your off to the races. Eight notes gets you back to A again at the 10th fret 2nd string. Don’t forget to account for the shift in tuning as you play through the 2nd string!
The key to everything on the guitar is what root note you are operating off of within a CAGED pattern, or just using the root notes themselves. You choose what works for you best. For me, it’s root notes and what string they fall on.
There are many different ways to finger a dim7, so you can look that up on line and study for yourself what they look like. Try doing a different progression or using a different CAGED shape and discover for your self. There are so many ways to do the same thing, there just isn’t one way for anything on the guitar.
Root note patterns >>> CAGED shapes >>> TRIAD'S. Just put in the work and watch your guitar skills soar.
-
Thank you John and Michael for your considered response to my question. I will do as suggested and find more of Brian’s lessons relating to the dim sound and use, and work on the terminology e.g., chord, scale and arpeggio. Then maybe I can better frame my questions. So far the 072 lesson seems the best so far in showing how to use whole step half step scale to get that great sound in a l-lV-V progression so, you don’t get lost while grappling with the chord , scale and arpeggio as Brian explains them..
-
- You must be logged in to reply to this topic.
