Diminished seventh chords with the bass on the low-E string
Three levels of the diminished seventh chords shapes
Two octaves diminished scales
Diminished seventh chords
Diminished seventh chords with the bass on the A string
Diminished seventh chords with the bass on the D string
Two octaves seventh chords scale Gdim7
Three octaves diminished scale
Three octaves arpeggio of the diminished seventh chord
From the very beginning of this textbook, we are examining the structure of a Diatonicism and ways of performance of its figures on the guitar. When we divide an octave into twelve equal halftones, lows of acoustic resonance begin to work (like those viewed on a single string), the pitch becomes universal or tempered. Notes sounds equally in all octaves (multiply in the pitch). On the other hand, our ear is tonal, when we "tune in" for a tonic, we, firstly, are able to hear the relation of other notes to the tonic (a consonance or a dissonance), and, secondly, our ear cannot be "tuned in" for two tonalities at once or hear two different notes as tonics simultaneously. As a result, the change of a key needs harmonic support. Two main indications of diatonic modes and scales are: 1. The heptatonic structure. 2. The absence of chromatic sequences and augmented seconds. Modes that have two and more aforesaid indications are diatonic. Heptatonic modes which don't meet the second indication are called "the conditional Diatonicism". Non-diatonic scales are: the chromatic scale, the diminished scale and the whole tone scale. One of the main features of a Diatonicism as a tonal system is the harmony of lower and upper tetrachords. The lower tetrachord sets the tonality, the upper continues it; and vice versa, if we move back. Non-diatonic scales and modes are polytonal in this sense, for example: the lower tetrachord of the symmetrical diminished (W-H) scale exactly corresponds to the minor tetrachord and, of course, set the minor key; but the upper tetrachord "breaks" this key, so as it itself is also minor, but in the other key, distant from the initial by the tritone. Thus, a diminished scale occupies two minor keys simultaneously, which are in a tritone relation. Surely, this circumstance proves to be baneful for the sense of a key. The same situation reveals itself while the examination of a whole tone scale, but there are two major keys in a tritone relation.
Exercises in this part can also be divided into scales, triads and seventh chords. The pentatonic is solely diatonic structure, so it is omitted here. As usually, pictures on the left show mode degrees (motley circles), and fingerings are on the right.
If we play the first I, the third III and the fifth V degrees of a whole tone scale, we will get the augmented triad.
The whole tone scale consists of six degrees, so the concept "an augmented seventh chord" concerns the sphere of the Diatonicism. That's why by analogy with seventh chords, we can speak about the major seventh chord with the risen V fifth degree and about the dominant seventh chord with the risen V fifth degree.
There are two kinds of the diminished scale: "half step - whole step" and "whole step - half step". Names of these scales display principles of their constructions. The half - whole step diminished scale crosses an octave (twelve half tones) in the half - whole step "style", and the whole-half step scale - accordingly to its name. Both of these consist of eight degrees.
Fingerings of diminished scales do not go into one position, that's why you should always use transitions on every string or broadened shapes. This is a good training after the habit of playing diatonic scales in one position.
Symmetrical diminished scale (H-W)
Inverse Symmetrical diminished scale (W-H)
As usual, I the first, III the third and V the fifth degrees of the diminished scale make the diminished triad. It is remarkable that both kinds of the diminished scale have the same triad.
Notice that seventh chords built upon two kinds of the diminished scale are also the same.
One octave diminished triad built on the Symmetrical diminished scale (H-W)
One octave diminished triad built on the Inverse Symmetrical diminished scale (W-H)
One octave arpeggio of the diminished seventh chord on base of the Symmetrical diminished scale (H-W)
One octave arpeggio of the diminished seventh chord on base of the Inverse Symmetrical diminished scale (W-H)
Arrangement of augmented triads on the guitar neck
Augmented triad arpeggio two octaves
Inversions of the Major seventh chord with the risen V fifth degree
Arpeggio of the Dominant seventh chord with the risen V fifth degree, two octaves
Inversions of the Dominant seventh chord with the risen V fifth degree
One octave whole tone scale
Two octaves whole tone scale
Augmented triad arpeggio one octave
Arpeggio of the Major seventh chord with the risen V fifth degree, two octaves
Two octaves Symmetrical diminished scale (H-W)
Two octaves Inverse Symmetrical diminished scale (W-H)