Mike looks at the Diminished Dorian with some examples from his Melodic Shred lesson

This lesson I will be showing you a few examples from my latest instructional video Melodic Shred. I will be showing you a cool way to incorporate the symmetrical Diminished scale or also known as the Dominant Diminished scale to your playing. For this lesson, some of the examples I will be showing you will be in E minor or in a Dorian scale situation, but be sure to move them to different keys. The Symmetrical Diminished scale formula is (1, b2, b3, 3, b5, 5, 6, b7), this scale is built with half steps and whole steps. We can really go in depth with Diminished scales, but for this lesson we will keep it simple.

Ex.1 This first example is a E Dorian scale (E, F#, G, A, B, C#, D) and a E Symmetrical Diminished scale mixed together (E, F, G, G#, Bb, B, C#, D). You will notice they have similar notes, which makes it easier to mix the 2 scales. You only have to use a couple of notes from the Diminished scale to get a outside effect.


Ex.2 This is another Dorian/Diminished line and it is a little more out sounding then the previous one, I added the b2nd more frequently and added the b5th. It sounds great over Em and be sure to experiment using Altered Dominant chords like E7#9, E7b9 for example.



Ex.3 Here is a Symmetrical Diminished scale sequence pattern that strictly stays in the E Symmetrical Diminished scale. Since this is a symmetrical scale, you can move this sequence up minor 3rd intervals and all the notes will stay within the scale.



Ok, that is it for now, I just gave you a few examples to start you off. Be sure to make up your own lines and I use this in my playing a lot. Also, if you want to check out my Melodic Shred video and other info, don't forget to visit mikecampese.com.

John 5 on How He Gets Old-School Tones from His Metal-Friendly Tele | The Big 5

Plus, find out which guitar hero the Rob Zombie sideman “begs and pleads” with you to listen to.

Read More Show less

Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
{u'media': u'[rebelmouse-document-pdf 12793 site_id=20368559 original_filename="DeepPockets-Nov21.pdf"]', u'file_original_url': u'https://roar-assets-auto.rbl.ms/documents/12793/DeepPockets-Nov21.pdf', u'type': u'pdf', u'id': 12793, u'media_html': u'DeepPockets-Nov21.pdf'}

Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

Read More Show less
x