One of the most awesome half whole diminished licks I ever learnt came from transcribing a Michael Brecker solo. Perhaps the most surprising thing about the lick was that there wasn't a single diminished chord in it.
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Instead, the line was made up entirely of major chords.
In this video, I'll show you the theory behind that technique and then show you how you can apply it to your own playing.
1. How Does This Work
Take the notes of a diminished 7 arpeggio (we'll use D) and we'll be given D, F, Ab and B/Cb. Next, build major and minor arpeggios off each note of the arpeggio.
From D this will give us D, F#, A (major) D, F and A (minor).
From F we'll get F, A and C for major and F, Ab and C as minor.
Ab will be Ab, C and Eb as major and Ab, Cb(or B) and Eb as minor.
And Cb has Cb, Eb and Gb as major and Cb, Ebb (D) and Gb).
If we now place all of these notes in order of the musical alphabet we get the following.
D, Eb, F, F#, Ab, A, Cb, C and D.
In other words, this is a half whole diminished scale.
2. How Can This Be Used
As we switch between these triads, we'll get a much more subtle diminished scale sound. It's not quite as obvious as playing up and down the scale itself.
But, because the minor third relationships of the triads can feel (and sound) unnatural then it's best to simply work on playing combinations of these triads to start with.
For example, playing up a D major arpeggio and then down an F major or Ab arpeggio.
Once you feel comfortable working with each of these combinations, I find it works to play really simple, clear triadic lines as you connect these chord together.
The reason is simply that the chord tones of each triad will best outline the sound of that triad and the very thing we're trying to exploit is the relationships between the triads themselves.
This is why we'd want to make the sound of them as clear as we can.
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