Primary Music Theory

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An augmented seventh chord is a relative notion, because the Whole tone scale consists of only six degrees, so, the natural augmented seventh chord can't be built on its base. That's why augmented seventh chords should be viewed as altered diatonic seventh chords.
When you perform two octave Whole tone scale, or employ an extended position, you should use the below fingering (1, 2, 4).
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 for diminished scales do not go into one position, that's why you should always use transitions on every string or extended positions. This is a good training after the habit of playing diatonic scales in one fretboard location.


    © musicsch.com 2010-2012 GennadiyKlyuevskiy

    Three octaves augmented triad arpeggio Daug







 
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Elementary School improvisations on five string bass guitar
Six string bass guitar School
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  Non-diatonic scales and chords
   Whole tone scale
   Augmented triad
   Augmented seventh chords
  Three octaves whole tone scale
  Diminished scales and chords
  Scale
  Triads
   Diminished seventh chords
  Three octave figures
   Scales
    Seventh chord
  Two octaves whole tone scale D
  Two octaves augmented triad arpeggio Daug
  Arpeggio of the Major seventh chord with the risen V fifth degree, two octave Dmaj7#5
  Arpeggio of the Dominant seventh chord with the risen V fifth degree, two octave D7#5
Inverse Symmetrical diminished scale (W-H) two octave Ddim
Two octave diminished triad arpeggio Ddim
Two octaves diminished seventh chord arpeggio Ddim
Inverse Symmetrical diminished scale (W-H) three octaves Ddim
  Three octave diminished seventh chord arpeggio Ddim
  Three octave figures