Different Scales/Runs

[Spiritfingaz]

Here are some scales I've been working on for a couple weeks, figured I'd post what I've learned. I apologize if these have already been posted. These work great as scales or runs, you can change rhythms to get the grace note feel to these, also I encourage you to learn different modes of these scales, which would basically be starting on a different note other than the tonic and ending on that same non-tonic note. Here's the fingering I use, others may work better for your hands and fingers. As always the possibilities with scales are endless!!! Hope this blesses your ministry 

Whole-tone Diminished:
I see dimished parts of this scale, but I'm not sure where the dimished truly comes in, the whole tone portion begins at the fourth note of every scale, the third tone of the key signatures,

CC#D#EF#G#A#C
12312341

DbDEFGABDb
41231234

DD#FF#G#A#CD
23123412

EbEGbGABDbEb
31234123

EFGG#A#CDE
23123412

FGbAbABDbEbF
12312341

GbGABbCDEGb
41231234

GG#A#BC#D#E#G
1231234

AbABCDEGbAb
41231234

AA#CC#D#E#GA
23123412

BbBDbDEGbAbBb
41231234

BCDD#E#GAB
12341231

You can use this a lot of different ways, just to personalize your sound…

Blues Scale w/maj 7th:

CEbFGbGBbBC
12341231

DbEGbGAbBCDb
23412312

DFGAbACC#D
12341231

EbGbAbABDbDEb
23412312

EGAA#BDD#E
12341231

FAbBbBCEbEF
12341231

GbABCDbEFGb
31234123

GBbCDbDFF#G
12341231

AbBDbDEbGbGAb
23412312

ACDD#EGG#A
12341231

BbDbEbEFAbABb
23412312

BDEFF#AA#B
12312341

*Personally I like this blues scale more than the regular one because it has 7 notes which feels better to me because of its relation to other scales, etc. It also adds more color.

Overtone Scale:

I don't know much about the overtone series but this scale is basically a lydian scale with a dominant 7th

CDEF#GABbC
DbEbFGAbBbBDb
DEFG#ABCD
EbFGABbCDbEb
EF#G#A#BC#DE
FGABCDEbF
GbAbBbCDbEbEGb
GABC#DEFG
AbAbCDEbFGbAb
ABC#D#EF#GA
BbCDEFGAbBb
BC#D#E#F#G#AB

Lydian diminished scale:

This works great with dimished chords

CDEbF#GABC
DbEbEGAbBbCDb
DEFAbBC#D
EbFGbABbCDEb
EF#GA#BC#D#E
FGAbBCDEF
GbAbACDbEbFGb
GABbC#DEF#G
AbBbBDEbFGAb
ABCD#EF#G#A
BbCDbEFGABb
BC#DFF#G#A#B

[4hisglory]

Thanks.

[rspindy]

Whole-tone Diminished:
I see dimished parts of this scale, but I'm not sure where the dimished truly comes in, the whole tone portion begins at the fourth note of every scale, the third tone of the key signatures,

CC#D#EF#G#A#C
12312341

There are actually 2 diminished scales -- the Whole/Half (WH) Diminished which is spelled:

C D Eb F Gb Ab A B C  --- the pattern is W H W H W H W H

The other is the Half/Whole (HW) Diminished which is spelled:

C Db D# E F# G A Bb C --- the pattern is H W H W H W H W

The diminished/Whole tone scale you have is the HW diminished through the F# and the Whole-Tone scale starting with the E -- therefore the two are overlapping E-F# are common to both scales.

Both diminished scales are formed from the notes of two diminished chords -- The C WH Diminished with C dim and D dim.  The C HW diminished with the C dim and Db dim.  Also note that if you start the C WH Diminished scale with the D, you have the D HW diminished scale.  The beauty of symmetry.

The WH Diminished scale is most often the scale of choice for imporvising over a diminished chord while the HW Diminished scale over a dominant 7th.  That is the reason I spelled 2 and 3 Db and D# since they are the b9 and #9 of C7.  If you look carefully the scale spells out a C7 chord.  And it gives us the b9, #9, #11, and 13 to have fun with.

If we recast your Diminished/Whole Tone scale thus C Db D# E F# G# Bb C you will see that it spells a C7 #5 and that it contains both the b9 and the #9 as well as the #11.

I know that we were often taught that in ascending scales to use #'s and in descending scales to use b's but in the case of some of these synthetic scales it is easier to see how they function by combining #'s and b's as necessary.

I hope this helps.

[4hisglory]

nice rspindy .

[PianoWizard]

Thanks "Spiritfingaz" & "rspindy".....

PianoWiz...

[Ladymusic88]

Very interesting!

Ladymusic88