| More Detailed Diminished Part I Part II Part III Part IV Part V Part VI |
The examples given in today’s lesson continue to resolve the diminished tension into the minor pentatonic scale (1 – b3 – 4 – 5 – b7). With the blue note (b5) added, (1 – b3 – 4 – b5 – 5 – b7) we create a blues scale and provide a platform for launching the diminished line. The blue note in the pentatonic scale is also the main tone in the diminished line and therefore opens a pathway for the inclusion of the diminished idea.
From another perspective, the diminished 7th can also function as a natural 6th when combined with the minor pentatonic scale. Adding this note to the minor pentatonic scale creates a more Dorian sound. The 6th note of the scale is the only thing that makes the Dorian mode (1 – 2 – b3 – 4 – 5 – 6 – b7) different from the Aeolian (1 – 2 – b3 – 4 – 5 – b6 – b7). As you can see, the notes from the minor pentatonic scale are included in both the Dorian and Aeolian modes.
You should be reasonably acclimated to the common fingerings of the diminished line from the previous installments in this series. This will be quite useful in creating logical fingering approaches for these examples. Assigning the four digits to adjacent frets is a great place to start if you have trouble with the melodic patterns in this lesson.
Ex.1 We begin this melody with a diminished arpeggio at the twelfth position and resolve into the pentatonic minor scale, ending on the root A. The first note should be played with finger 3 of the fretting hand. Download Example Audio...
Ex.2 Here we take the same arpeggio from example one and launch into the pentatonic from the b5 of the scale. This coincides nicely with the diminished arpeggio and resolves with a bit more mystery for the ear. Download Example Audio...
Ex.3 Now we begin with a descending diminished line resolving into the pentatonic scale and ending with an ascending octave displacement. Notice after the ascending displacement we immediately descend to the root adhering to the theory of contrary motion. Download Example Audio...
Ex.4 Making more use of the diminished tension, we utilize it throughout the line and add a tritone at the culmination for an ear-catching instability. Download Example Audio...
Ex.5 Using a bit of deception we begin the pentatonic line with an emphasis on the b5 and use the diminished idea as a spice at the end before finally resolving to stability. Download Example Audio...
That wraps up our series on the diminished mode. I hope you’ve gained a firm grasp of the diminished concept and its functions and are able to apply the diminished idea into your everyday guitar playing. You can also contact me with any questions. Thank you for logging on and tuning in. See you next month here in Lethal Guitar.
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
