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This weeks reader generated article comes from a question posted on the Matt Warnock Guitar Facebook Page. A reader asked about how to harmonize the different notes in the Half-Whole Diminished cale! and since " get this question a lot from other readers and students! " decided it was a great topic for this weeks reader question article.
When learning how to play jazz guitar! de#eloping a strong understanding of the Half-Whole Diminished cale from both a harmonic and melodic standpoint is an essential tool that can greatl$ e%pand $our #ocabular$ in both a comping and soloing situation. "n the following article $ou will learn how to build a Half-Whole Diminished cale! what chords are used to harmonize this scale! and how to appl$ this knowledge to comping! chord scales and impro#ising.
o $ou can see that the inter#als between each note alternate between half-steps and whole steps! creating an eight-note scale as opposed to the se#en-note scales $ou ma$ be used to. Here are the inter#als for each note in a Half-Whole Diminished cale that $ou can use as a reference when working with this sound in the practice room.
+ b, b- - b./0112 . 3 b4 +
And here is how the ' Half-Whole Diminished cale looks on the staff! in both notation and tab.
As well! if $ou are new to this scale and want to check out further one and two-octa#e fingerings for it on the guitar! $ou can read m$ article 5How to Play Half-Whole Diminishe !cales for Guitar.6
o $ou can see that there the dim4 chord pops up four times within this scale! but each time it is built using the same four notes! as $ou would with an$ in#ersion of an$ chord such as ma94! 4 or m4. Here is how these #oicings look in the ke$ of ' using closed-position chords.
As $ou begin to e%periment with this sound in a comping situation! let $our ears guide $ou as to where and when $ou want to use these 4th chords in $our pla$ing. Theoreticall$ $ou can use )b4! *b4 and A4 to comp o#er '4 to gi#e it a Half-Whole fla#or! but this might not alwa$s sound good. o tr$ it out in the practice room before $ou take it out on the bandstand to a#oid an$ awkward looks from the rest of the group if these chords dont sound e%actl$ as $ou had planned. Here is how each of those chords is spelled. 7otice that the$ are not in#ersions of each other as was the case with the dim4 chords! but instead are stand-alone chords as far as their construction is concerned.
And here is how these four chords look like on the page! in both notation and tab in the ke$ of ' using closed-position #oicings.
After $ou ha#e checked out this e%ample! and taken it to other ke$s on this string set! tr$ building chord scales with the HalfWhole Diminished scale with Drop , chords on other string sets! as well as with an$ other $azz Guitar %hor that $ou know or are working on in the practice room.
Ha#ing a strong understanding of how to build and use the Half-Whole Diminished cale can not onl$ help $ou shore up $our theor$ knowledge! but it can also help $ou appl$ this scale and its chords in situations that $ou ma$ not ha#e thought of before! greatl$ e%panding $our harmonic and melodic #ocabular$.
Do $ou ha#e a fa#orite wa$ to think of or use the harmonized Half-Whole Diminished cale: "f so! please share it in the comment section below.