Fingerboard Lead Lines Return to catalog Table Of Contents   To Understand This Book   Fingerboard Facts   Left Hand Fingering   Pattern Transferral   Tetrachords   Major Tetrachords and Major Scales   Minor Tetrachords   Dorian and Mixolydian Modes   Phrygian Tetrachords   Phrygian and Aeolian Modes   Lydian Tetrachords   Lydian and Locrian Modes   Ascending Melodic Minor Scales   Harmonic Minor Tetrachords and Scales   Hungarian Minor Tetrachords and Scales   Diminished Scales   Whole-Tone Scales   Pentatonic Scales   Motive-Generated Lines   Melodic Form   Blank Fingerboards   85 Pages	Sample Page...   The diminished scale also fits four Dominant seventh chords (with or without their 9b, 9#, 11#, or 13 extensions). Where the bottom notes of whole steps name diminished seventh chords, the top notes of those same whole steps now name Dominant seventh chords. In the written example, the top notes of whole steps are D, F, G#, and B. The written example therefore fits D7, F7, G#7(Ab7), and B7. In the diminished scale, the top note of a whole step is, of course, the bottom note of a half-step. Consequently, a diminished scale pattern can put a half-step at its bottom and thus put four notes on the sixth string as well as on all the other strings. Now each string contains its own ½ 1 ½ interval structure, as Patterns 3 and 4 illustrate: In playing up Pattern 3, slide the bottom note on each string up one fret with first finger: In playing down Pattern 4, slide the top note on each string down one fret with the fourth finger: Notice that patterns 3 and 4 are actually exactly the same pattern with different fingerings shown: Pattern 5 is the only diminished scale which stays within a three-fret fingerboard span. Notice that the bottom notes of its whole steps make a diminished seventh chord which it fits and that the bottom notes of its half-steps make a Dominant seventh chord it fits: