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At first glance it's confusing, but for a different reason; for Fº, the fifth should really be written as Ab, not G#.

Now I'm just guessing here - context in the book would be a big help - but there's a thing called the 'diminished scale', which is a series of whole and half steps. Since a diminished chord has each of its tones one-and-a-half steps apart... to make a scale from it, you can get two different versions: one has the addition of a whole step above each arpeggio note, the other uses a half step above the arpeggio tones.

That gives you two different 'F diminished' scales, each with eight tones instead of the diatonic seven:


The first and third beats of your examples are built from the WH pattern diminished scale... while the second and third beats use the HW pattern diminished scale.

So your book isn't totally off the wall, but explanatory text would sure help.

When you do that much chromatic alteration, it's often hard to label a phrase as matching a chord - combining both diminished scales in their entirety gives you a simple chromatic scale. And because the combination has all the tones, arranging it in arpeggio fashion can lead to other logical splits - like your interpretation: the second and fourth beats use F#-A-C-Eb, which is indeed an F#º7 arpeggio.

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