The (half-step/ whole-step) diminished scale is arguably the most flexible harmonic and melodic device available to the improvising musician. We talked about this great device before in terms of using it chordally so I thought I would explore some melodic applications.

The diminished scale is a symmetrical scale that is nothing more that alternating half-steps and whole-steps. Due to this construction, anything derived from diminished harmony can be transposed up or down in minor thirds and you never leave the scale.

In this video, I play the same phase in four different ‘keys’ over C13b9 – Fm progression: a common V-i. All four of the variations offered here can be equally used over A13b9 – Dm, F#13b9 – Bm or Eb13b9 – Abm. If you’re careful with the final note, you can also resolve the like to major chords.

I think that really makes this a 32 for the price of one… I’ll let you work-out the math.

Want to study with me privately? You can–from anywhere in the world via my Online Guitar Lessons.

Dig it.

Case in point, I have, for my own self study, transcribed this beautiful tune by the Pat Metheny Trio. ”Inori” is from the “Tokyo Day Trip (Live)” release featuring Christian McBride and Antonio Sanchez.

This is the melody and self-accompaniment (of which Pat is a master) played on guitar. Notice how infrequently Pat play’s a chord’s root. Notice too, how few notes are used. Everything here falls easily under the fingers. This piece is an amazing testimony to Metheny’s taste, touch, mastery of the guitar and intelligent note-choice.

Hope you dig it.

Next up is the solo. A1, B1, C1 are played finger-style. D1 is played with a pick which leads into a modulation up a whole step (from the key of GMaj to AMaj) and a restatement of the head.